the  John  Church  Company. 

CINCINNATI.  NEW  YOPK . 
CHICAGO.  LEI  PS  1C. 


■ 


Portraits 

AND 

SILHOUETTES 

cr  O  F 

■  American 


Laurel  Winners: 


PORTRAITS 

AND 

SILHOUETTES 

OF 

AMERICAN 

COMPOSERS. 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 

Chicago.  Leipsic. 


1898. 


Copyrighted,  1S9S,  by 
The  John  Church  Company. 


THE  GETTY  CENTER 
LIBRARY 


KEYNOTE. 


A  glance  at  almost  any  page  of  this 
book  will  denote  its  objeCt. 

It  is  to  eulogize  American  compos¬ 
ers  by  presenting  valid  claims  for  the 
praise  bestowed,  to  present  a  likeness 
of  them  to  the  musical  public,  and  to 
disseminate  the  fruits  of  their  genius. 

No  attempt  has  been  made  at  pre¬ 
cedence  in  the  arrangement  of  names, 
as  such  arrangement  is  usually  one  of 
personal  predilection  and  is  here  omit¬ 
ted  in  deference  to  the  consideration 
of  the  reader.  Even  alphabetical  ar¬ 
rangement  has  been  discarded  as  one 
of  the  artful  contrivances  of  Dame 
Fortune  in  showing  preferment. 


EMBELLISHMENTS 


:  s  Page 

BARTLETT,  HOMER  N . 31 

BARTLETT,  JAMES  CARROLL . 54 

BISCHOFF,  DR.  J.  \Y . 109 

BLUMEXSCHEIN,  \V.  L . 102 

CHADWICK,  GEORGE  W . 7 

COOMBS,  C.  WHITNEY.  . . 35 

COVERLEY,  ROBERT . 58 

.DAMROSCH,  WALTER . 15 

DkKOVEN,  REGINALD . 27 

GILCHRIST,  WILLIAM  WALLACE . 99 

GOODRICH,  A.  J  .  .  .  84 

HADLEY,  HENRY  K . 62 

HAWLEY,  C..B . .  .  .  38 

HOLDEN,  ALBERT  J . 74 

JOHNS,  CLAYTON . .  ,  42 

JORDAN,  JULES . 50 

LIEBLING,  EMII . 90 

LUCKSTONE,  ISIDORE . .66 

MARSTON,  GEORGE  W . 70 

MARZO,  EDUARDO . 77 

MASON,  DR.  WM . 24 

MATHEWS,  W.  S.  B . 87 

NEVIN,  ETHELBERT . .11 

NORRIS,  HOMER  A . .  .  46 

OSGOOD,  GEORGE  I . .19 

PEIRCE,  HOWARD  FORRER . 105 

SAWYER,  FRANK  E . .  .  112 

SHERWOOD,  WILLIAM  FI . 80 

SMITH ,  WILSON  G . 95 

SOUSA,  JOHN  PHILIP . 115 


4 


PRELUDE. 


IN  the  centennial  year  of  our  national  inde¬ 
pendence,  when  American  men  of  litera¬ 
ture,  science,  painting  and  sculpture 
were  recognized  as  masters  in  their  arts,  when 
American  artisans  and  inventors  were  firmly 
established  as  leaders  of  their  class  and  clan, 
the  American  composer  of  music  was  not  a 
participant  in  such  honors.  It  was  indeed  a 
sign  of  the  times,  when  the  writing  of  the 
Festival  March  for  the  Centennial  Exposition 
was  delegated  to  a  foreigner. 

It  is  related,  that  when  in  the  same  year, 
Mme.  Antoinette  Kssipoff  expressed  a  desire 
to  devote  a  program  entirely  to  American  com¬ 
positions,  some  mortification  was  felt  on  learn¬ 
ing  that  this  delicate  courtesy  found  a  proper 
response  with  some  difficulty  —  by  reason  of 
there  being  available  hardly  enough  good 
compositions  by  native  composers  to  make  a 
worthy  showing. 

Such  a  request  to-day  would  be  a  matter 
of  little  concern,  as  there  is  an  abundance  of 
American  pianoforte  literature  of  such  sterling 


6 


PREE  UDE. 


qualities  that,  even  pianists  of  foreign  birth  and 
education  include  them  in  their  repertoire. 

Such  rapid  strides  have  been  made  in  com- 
I>osition  by  the  American  composer,  that  to-day 
he  is  recognized  as  a  master-creator  in  every 
form  of  composition,  from  the  song  or  piano 
piece  to  the  oratorio  or  symphony. 

Though  America  boasts  not  of  a  Beetho¬ 
ven,  Schumann  or  Wagner,  nor  has  she  a  dis¬ 
tinctive  national  school  or  kind  of  composition, 
she  can  glory  in  the  composer  who,  as  the  in¬ 
terpreter  of  all  schools,  has  liecome  the  truest 
exponent  of  an  universal  art. 

The  pages  of  the  Book  of  Fame  will,  at  a 
day  not  distant,  be  emblazoned  with  names  of 
American  composers  who  will  be  the  peers  of 
any  now  there  enrolled. 


GEORGE  W.  CHADWICK, 


A  j\  R.  Chadwick  is  perhaps 
*  '  *  to-day  the  most  indus¬ 
trious,  as  he  is  one  of  the  most 
effective  of  American  com¬ 
posers.  He  is  American  to 
the  backbone,  one  of  his  an¬ 
cestors  having  fought  in  the 
ranks  of  the  patriots  at  Bunker 
Hill.  He  has  wandered  at  times 
to  places  distant  from  his  birth-place,  but  feels 
himself  most  at  home  in  New  England,  though 
the  manner  of  his  music  and  the  manner  of 
his  intercourse  with  his  fellowmen  disclose  the 
geniality  and  the  broad  liberalism  of  the  cos¬ 
mopolite.  He  lives  in  Boston,  where  he  labors 
as  organist  of  the  Rev.  Dr.  Miner’s  Church, 
as  composer  and  teacher,  and  he  is  the  con¬ 
ductor  of  the  Springfield  Choral  Society,  where 
every  year  he  directs  the  festival  of  the  Hamp¬ 
den  County  Musical  Association. 

His  childhood  home  was  Lowell,  where  he 


8 


GEORGE  Jl\  CHADWICK . 


was  born  on  Nov.  13,  1854.  There  was  music 
in  his  father’s  family,  and  an  elder  brother 
gave  him  his  first  pianoforte  lessons.  Then 
he  became  a  pupil,  on  the  organ,  of  Eugene 
Thayer.  In  his  musical  education  he  has  had 
the  highest  advantages,  having  spent  several 
years  under  Reinecke  and  Jadassohn  at  Leipsic, 
and  under  Rheinberger  at  Munich.  Mr.  Chad¬ 
wick’s  experience  as  teacher  covers  a  period 
of.  twenty  years,  during  a  large  part  of  which 
he  has  been  connected  with  the  New  England 
Conservatory,  of  which  institution  he  now  is 
director- in-chief. 

Mr.  Chadwick  has  composed  in  nearly  all 
forms,  large  and  small.  He  has  written  three 
symphonies,  of  which  two  have  been  published 
in  score.  They  are  in  the  keys  of  B-fla-t  and 
F  ;  the  first,  in  C,  is  still  in  manuscript.  With 
the  third  symphony  the  composer  won  the 
$300  prize  offered  in  1893  by  the  National  Con¬ 
servatory  of  Music,  of  New  York.  Of  his 
choral  works  “The  Song  of  the  Viking”  for 
men’s  voices,  “The  Eovely  Rosabelle  ”  for 
solos,  chorus  of  mixed  voices  and  orchestra, 
“  Phoenix  Expirans”  and  “The  Lily  Nymph” 
have  had  frequent  productions.  His  composi¬ 
tions  in  Cantata  form  embrace,  besides  those 
mentioned,  an  ode  written  for  the  dedication 
of  the  new  Hollis  Street  Church  in  Boston, 


LA  r RE!.  WINNERS. 


9 


“The  Pilgrim’s  Hymn,”  and  the  “Columbian 
Ode,”  written  for  the  World’s  Fair,  in  1893. 
His  comic  opera,  “Tobasco,”  went  through 
several  successful  seasons.  In  chamber  music 
and  orchestra  work  his  string  quartet  in 
D  major,  the  overtures  “Melpomene”  and 
“Thalia”  are  well  known.  Mr.  Chadwick, 
though  he  has  given  names  to  his  overtures, 
is  not  an  out-and-out  believer  in  programme 
music.  He  has  a  critical  mind  and  a  healthy 
love  for  form,  which  saves  him  from  extreme 
radicalism,  in  which  young  composers  are 
prone  to  fall.  In  addition  to  the  compositions 
mentioned,  this  industrious  composer  has  pub¬ 
lished  about  forty  songs,  some  piano  and  organ 
music,  as  well  as  a  large  quantity  of  music  for 
church  services.  His  newest  works  are  three 
symphonic  sketches  for  orchestra,  entitled,  re¬ 
spectively,  “Jubilee,”  “Noel,”  and  “A  Va- 
grom  Ballad;”  “Lochinvar,”  ballad  for  solo 
baritone  and  orchestra  ;  a  string  quartet  in 

E  minor,  written  for  Mr.  Kneisel  and  his 

* 

confreres;  and  some  new  songs,  notably,  “I 
Have  Not  Forgotten,”  and  “Since  My  Love’s 
Eyes.  ’  ’ 


TWO  CHARMING  NEW  SONGS 
BY  GEORGE  W.  CHADWICK. 


I  have  Not  Forgotten. 

(Two  keys). 

50c. 

Since  fly  Love’s  Eyes. 

(Two  keys). 

50c. 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago*  I.eipsic. 


ETHELBERT  NEVlN. 


“  A  RT,”  says  Mr.  Hamilton 
Mabie,  the  bookman  and 
philosopher,  “  is  the  exposition 
of  a  man’s  whole  nature  and 
life,  something  that  grows  out 
of  him,  and  not  something  that 
he  puts  together  with  mechani¬ 
cal  dexterity.” 

Artistic  to  the  highest  degree 
are  the  compositions  of  Etheebekt  Nevin, 
whose  brilliant  genius  and  creative  ability  early 
won  an  immediate  popularity  and  well-deserved 
praise  from  connoisseurs;  before  he  had  reached 
man’s  estate  he  had  published  his  charming 
serenade,  ‘‘Good-night,  Beloved,”  and  the 
‘  ‘  Sketch  Book  ’  ’  containing  that  crystalline 
gem,  ‘‘O,  That  We  Two  Were  Maying,”  a 
song  of  pathos  so  tender  that  it  never  fails  to 
appeal  to  the  strongest  emotions.  It  was  this 
‘‘Opus  2”  that  early  established  its  author’s 
position  as  a  creator  of  musical  art. 


12 


E  TItEL  EE  It  T  NE  YIN. 


Mr.  Xevin  was  born  at  Edgeworth,  Pa.,  in 
1862,  and  was  a  very  precocious  infant,  early 
showing  signs  of  a  love  for  melody.  At  the 
age  of  four  he  was  often  found  at  the  piano 
thrumming  tunes  to  the  astonishment  of  ad¬ 
miring  listeners.  He  received  during  his  early 
boyhood  days,  such  musical  education  as  is 
usually  acquired  by  a  pupil  making  such  a 
study  a  means  of  accomplishment  only.  It 
was  not  until  1S84  (  after  he  had  published  the 
“Serenade”  and  “Sketch  Book”)  that  he 
began  to  take  music  seriously,  it  being  in  that 
year  that  he  commenced  his  studies  with 
Klindworth,  at  Berlin,  remaining  nearly  three 
years. 

Mr.  Xevin  is  an  excellent  pianist,  excelling 
in  interpretation  rather  than  bravura,  having, 
in  the  language  of  his  eminent  teacher,  “a 
touch  that  brings  tears.  ’  ’ 

His  compositions,  showing  a  very  distinct 
and  unmistakable  individuality,  are  the  out¬ 
pourings  of  a  soul  that  is  not  only  intense  in 
its  activities,  but  is  deep  and  learned  in  its 
expressions. 

Mr.  Xevin  recently  gave  in  Xew  York  City 
an  afternoon  with  his  own  compositions. 
Many  new  ones,  and  charming  ones,  too,  were 
given  and  were  received  with  as  much  enthusi¬ 
astic  appreciation  as  the  old  favorites.  Some 


LA  UR  EL  II  'ZNXE  US. 


13 


exquisite  songs  and  a  charming  piano  suite 
were  signal  novelties.  His  progress  in  the 
field  of  composition  has  been  so  uniform,  so 
consistent,  so  steadily  in  an  upward  direction, 
that  to-day  the  announcement  of  a  new  work 
from  his  pen  possesses  all  the  elements  of  a 
musical  event. 

Mr.  Nevin’s  new  suite,  “A  Day  in  Venice,” 
soon  to  be  published,  is  assured  a  warm  wel¬ 
come  and  extensive  performance. 


ETHELBERT  NEVIN. 


Un  Giorno  in  Venezia.  (A  Day  in  Venice.) 

Op.  25.  $1.25 

Alba.  "(Dawn.) 

Gondolieri.  (Gondolier.) 

Canzone  Amorosa.  (Venetian  love  song.) 
Buona  Notte.  (Good-night.) 


THE  JOHN  CHURCH  COMPANY, 
Cincinnati.  New  York.  . 
Chicago.  I.eipsic. 


14 


WALTER  DAMROSCH. 


w 


ALTER  Damrosch  has 
done  much  to  elevate 
the  taste  for  music  in  this  coun¬ 
try.  As  conductors  go,  in  the 
opera-house  or  concert-room,  he 
seems  still  a  young  man  ;  yet  it 
is  nearly  twelve  years  since  he 
began  to  play  some  part  in  the 
musical  affairs  of  New  York, 
and  half  as  many  since  he  began  to  be  known 
throughout  the  country.  In  that  time  he 
has  been  the  conductor  of  one  of  the  two 
orchestras  that  New  York  maintained,  of  the 
only  society  for  the  performance  of  choral 
music  in  the  larger  forms  in  that  city,  and  for 
three  years  the  conductor  and  manager  as  well 
of  companies,  for  the  performance  of  opera  in 
German,  that  have  appeared  throughout  the 
east  and  portions  of  the  west  and  south.  When 
the  public  interest  in  opera  in  German,  and 
especially  the  music-dramas  of  Wagner,  was 

■5 


1 6  WALTER  DAM ROSC 11. 

supposed  to  be  dormant  in  New  York,  he,  at 
no  little  risk,  essayed  to  revive  it,  and  suc¬ 
ceeded.  He  also  made  known  the  virtues  of 
German  performances  and  of  Wagner’s  latest 
operas  to  communities  in  the  south  and  the 
southwest,  where  they  had  been  nearly  un¬ 
known.  He  brought  “  Frau  Sucher,  ”  “Frau 
Klafsky,’’  and  “  Fraulein  Ternina’’  for  the 
first  time  to  America,  and  he  restored  to  us 
‘  ‘  Herr  Alvary  ’  ’  and  ‘  ‘  Frau  Lehmann.  ’  ’  Last 
winter,  in  Philadelphia,  he  directed  a  long  ser¬ 
ies  of  performances  of  opera  that  made  a  dis¬ 
tinct  step  away  from  the  mere  visits  of  travel¬ 
ing  companies  toward  the  annual  maintenance 
of  opera  in  American  cities  outside  of  New 
York.  Next  winter  he  proposes  to  continue 
the  venture  on  a  larger  scale,  with  a  repertory 
of  French  and  of  Italian  as  well  as  of  German 
operas,  with  singers  trained  in  those  schools. 

All  this  makes  no  small  achievement,  and 
in  comparatively  few  years,  for  a  man  still 
counted  young.  It  witnesses  also  Mr.  Dam- 
rosch's  ability  in  many  and  usually  divergent 
directions — his  capacity  for  hard  and  wearing 
work,  his  fine  courage  and  shrewd  confidence. 
They  take  him  seriously  now  who  at  first 
spoke  lightly  of  him  as  only  his  father’s  son. 
In  a  measure  he  has,  indeed,  inherited  from 
his  illustrious  father  his  ability  as  a  conductor 


LA  UREL  WINNERS. 


i7 


and  a  composer.  His  father’s  training,  as 
well  as  Von  Billow's,  helped  to  prepare  him  for 
his  work.  He  .succeeded  naturally  to  some  of 
the  posts  that  his  father  has  filled,  but  once 
established  he  soon  proved  other  titles  to  them 
than  inheritance. 

Mr.  Damrosch  has  occupied  his  leisure  time 
in  composition — in  writing  the  music  for  his 
opera,  “The  Scarlet  Letter,”  given  in  Boston 
in  the  winter  of  1896  for  the  first  time,  and 
subsequently  in  other  cities,  everywhere  re¬ 
ceived  with  enthusiasm,  winning  the  unani¬ 
mous  and  most  hearty  praise  of  public  and 
press. 

During  the  summer  season  just  closed,  Mr. 
Damrosch  has  finished  nine  songs,  which  are 
now  published.  The  text  of  these  new  com¬ 
positions  is  from  the  pens  of  such  notables  as 
Rudyard  Kipling,  Robert  Louis  Stevenson, 
Dante  Gabriel  Rossetti,  and  Lady  Lindsay, 
and  present  well-known  and  favorite  poems  in 
musical  settings  of  the  highest  order  of  merit. 

Mr.  Damrosch  is  now  finishing  a  grand 
‘  ‘  Te  Deum  ’  ’  in  honor  of  the  naval  victory  at 
Manila,  which  will  be  sung  by  the  Oratorio 
Society  of  New  York,  this  season,  and  later 
on  by  one  of  the  prominent  societies  of  Boston. 


NEW  VOCAL  COMPOSITIONS  BY 
WALTER  DAMROSCH. 


Danny  Deever. 

Ballad  for  baritone  solo  and  male  chorus  (ad  libitum). 

75t- 

First  Love  Remembered. 

Song  for  soprano  or  tenor.  50c. 

Mandalay. 

Ballad  for  baritone  solo  and  male  chorus  (ad  libitum). 

$1.00 

Mary  Magdalene. 

(At  the  door  of  Simon,  the  Pharisee.) 
Dramatic  scene  for  mezzo-soprano.  75c. 

My  Heart  is  a  Lute. 

Song  for  soprano.  60c. 

My  Wife. 

Song  for  tenor.  40c. 

Sudden  Light. 

Song  for  soprano  or  tenor.  75c. 

The  Deserted  Plantation. 

Song  for  alto  or  bass.  60c. 

The  Sick  Child. 

Song  for  mezzo-soprano.  75c. 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago.  I.eipsic. 


GEORGE  L.  OSGOOD. 


'"THAT  George  L.  Osgood 
1  occupies  an  enviable  posi¬ 
tion  in  the  musical  work  of 
Boston,  no  one  acquainted 
with  his  career  can  dispute. 

He  is  a  noted  director  of  sing¬ 
ing,  a  composer  and  conductor 
of  national  reputation,  and, 
being  a  true  artist,  carries  his 
artistic  personality  into  all  his  work.  His 
success  in  life  is  due  to  his  power  to  enlist 
and  hold  the  interest  of  others  in  his  art. 

Mr.  Osgood  is  an  excellent  proof  of  the  fact 
that  success  consists  largely  of  work  ;  that  is, 
that  close,  constant  practice  is  necessary  to 
polish,  refine  and  develop,  to  an  artistic  finish, 
the  finest  gem  of  genius.  The  important  po¬ 
sitions  he  has  ably  filled,  the  popularity  of  his 
compositions,  the  eminent  men  in  Europe  and 
America  with  whom  he  has  studied  and  associ¬ 
ated,  added  to  his  extensive  travel  and  re- 


19 


20 


GEORGE  L.  OSGOOD. 


search  and  his  scholarly  attainments,  place 
him  unquestionably  in  the  foremost  rank  of 
our  great  American  musicians  and  composers. 
Mr.  Osgood  is  a  brilliant  artist,  and,  although 
famous,  possessing  the  good  will  of  his  many 
contemporaries. 

He  was  born  in  Chelsea,  Mass.,  and  is  a 
lineal  descendant  of  John  Osgood,  the  Puritan, 
who  came  to  Salem,  Mass.,  in  1632.  He  came 
of  a  very  musical  family  on  both  sides.  In 
1866  he  graduated  with  honors  at  Harvard 
University,  where  he  had  been  a  leading  spirit 
in  the  musical  life  of  the  college,  and  for  three 
years  had  been  director  of  the  glee  club  and 
college  orchestra. 

Immediately  after  graduation,  Mr.  Osgood 
went  to  Germany,  and  there  devoted  himself 
to  the  stud}'’  of  singing  under  the  renowned 
Sieber,  to  composition  under  Haupt,  and  to 
the  study  of  German  song  and  choral  works 
under  Robert  Franz,  the  modern  genius  of 
choral  literature.  After  over  three  years  in 
Germany,  Mr.  Osgood  went  to  Italy  and  studied 
under  the  celebrated  Lamperti,  the  elder,  world- 
renowned  as  master  of  singing.  On  returning 
to  Germany,  Mr.  Osgood  gave  a  series  of  con¬ 
certs,  making  a  tour  of  the  German  cities  and 
singing  in  oratorio.  Such  was  his  success 
that,  on  his  return  to  America,  he  was  at  once 


LA  UREL  WINNERS. 


21 


engaged  by  Theodore  Thomas  for  a  winter 
with  his  orchestra,  and  was  received  with 
much  enthusiasm  in  all  the  principal  cities  of 
this  country. 

In  1872  he  settled  in  Boston,  and  soon  be¬ 
came  celebrated  as  a  teacher  of  voice,  a  con¬ 
ductor,  and  a  composer.  Many  of  his  pupils 
have  acquired  standard  reputations  throughout 
the  United  States  as  singers  and  teachers.  *  In 
1875  he  was  chosen  director  of  the  Boylston 
Club,  a  choral  society  of  two  hundred  voices, 
organized  as  a  men’s  chorus  of  one  hundred 
voices,  and  a  women’s  chorus  of  one  hundred 
voices,  with  special  rehearsals  for  the  several 
departments  of  men,  women  and  mixed  voices. 
For  fifteen  years  the  brilliancy  of  its  perform¬ 
ances,  both  in  unaccompanied  singing  and  or¬ 
chestral  work,  earned  for  Mr.  Osgood  an  in¬ 
ternational  reputation.  L,ater  the  society  was 
remodeled  under  the  name  of  the  Boston  Sing¬ 
ers’  Society.  Mr.  Osgood  is  a  member  of  the 
best  clubs  of  Boston,  and  an  honorary  member 
of  the  Phi-Beta-Kappa  Society  of  Harvard 
University. 

His  published  works  include  anthems, 
choruses,  part  songs,  “Sanctus,”  written  for 
the  250th  anniversary  of  the  founding  of  Har¬ 
vard  College,  many  songs  for  voice  and  piano¬ 
forte,  many  of  these  having  an  extended  sale 


GEORGE  L.  OSGOOD. 


22 

and  found  on  concert  programmes  all  over  the 
country;  and  a  “  Guide  in  the  Art  of  Sing¬ 
ing,”  which  is  now  in  its  seventh  edition. 

To  those  who  are  familiar  with  other  songs 
by  George  L.  Osgood,  it  may  be  sufficient,  in 
a  general  way,  to  say  that  “My  Lady’s 
Girdle,”  his  latest  composition,  is  character¬ 
ized  by  the  same  graceful  and  artistic  flavor 
that  made  the  others  so  delightful. 


A  DELIGHTFUL 
SONG  LYRIC  BY 
GEORGE  L.  OSGOOD. 


“  My  Lady’s  Girdle.” 

(Published  in 
30c 


two  keys.) 


THE  JOHN  CHURCH  COMPANY 

Cincinnati.  New  York. 
Chicago.  beipsic. 


DR.  WN1.  MASON. 


1~\R.  Wm.  Mason,  third  son 
of  that  pioneer  in  Ameri¬ 
can  musical  composition,  Row¬ 
ell  Mason,  was  born  in  Boston 

<  7 

on  the  24th  da)-  of  January, 
1829.  His  father,  early  dis¬ 
covering  the  talent  of  his  son, 
gave  him  instructions  on  the 
piano,  and  his  advance  was  so  rapid  that  by  the 
time  he  was  fifteen  he  appeared  in  public  with 
orchestra,  playing  the  Mendelssohn  G  minor 
concerto.  I11  1849  he  went  to  Reipsic  and  be¬ 
came  a  pupil  in  theory  of  the  distinguished 
Moritz  Hauptmann.  Upon  Hauptmann’s 
death  he  journeyed  to  Prague,  and  for  a  year 
did  diligent  work  under  Dreyschoek.  To 
Riszt  at  Weimar,  in  1851,  he  wended  his  way, 
and  here  he  remained  until  1854,  when  he  re¬ 
moved  to  New  York,  where  he  has  ever  since 
been  exceedingly  busy  in  teaching  and  con- 
certizing. 


S 


24 


Z  A  U RE  L  WINNE  R  S . 


25 


The  fame  of  Dr.  Mason  as  a  pianist  is  world¬ 
wide.  His  success  in  concerts,  both  abroad 
and  at  home,  gave  prestige  to  his  philosophy  of 
technic,  and  his  books  on  method  have  taken 
the  very  highest  rank.  The  influence  of  Dr. 
Mason  as  a  teacher  has  for  so  many  obscured 
his  reputation  as  a  composer,  that  it  will  sur¬ 
prise  some  of  the  younger  generation  to  learn 
that  his  Opus  1,  “Song  without  words,”  was 
published  as  long  ago  as  1845,  and  his  last 
published  piece  appeared  in  1882,  since  which 
time  his  writings  have  been  chiefly  pedagogi¬ 
cal.  As  a  composer,  he  is  distinctly  one  of 
piano  music,  and  he  has  written  some  excel¬ 
lent  lyric  pieces  ile  salon. 

Although  Doctor  Mason  (degree  bestowed 
by  Yale  in  ’72)  has  added  little  to  the  volume 
of  composition,  he  has  been  a  force  for  good, 
and  has  added  great  dignity  to  the  profession 
of  music  in  America. 


A  RECENT  PEDAGOGICAL  WORK 

BY 

DR.  WM.  MASON. 


A  Primer  of  Music: 

The  First  Steps  in  Musicianship. 

By  Dr.  Wm.  Mason  and  W.  S.  B.  Mathews. 

In  cloth,  $1.00 
In  boards,  75 


THE 

JOHN  CHURCH 
COMPANY, 


Cincinnati. 

Chicago. 


New  York. 
Leipsic. 


REGINALD  DeKOVEN. 


HE  first  opera  by  an  Ameri¬ 
can  composer  to  be  pro¬ 
duced  in  England  was  “  Robin 
Hood,”  which  had  a  perform¬ 
ance  in  London  in  1891.  The 
composer,  Mr.  Reginald  De- 
Koven,  has  almost  completely 
dominated  the  operetta  stage 
in  America  since  1890.  For  so  ideal  a  work  as 
“  Robin  Hood  ”  and  such  pleasing  construc¬ 
tions  as  parts  of  his  other  operas,  one  ought 
to  be  grateful,  especially  as  his  music  has 
always  a  certain  elegance  and  freedom  from 
vulgarity.  His  first  work,  ‘‘Cupid,  Hymen 
&  Company,”  was  never  produced,  but  the 
“Begum,”  the  first  f>r°duction  at  Philadel¬ 
phia  in  1887,  made  a  decided  hit  ;  “  Don 
Quixote,”  produced  in  Boston,  Nov.  15,  1889, 
met  with  a  cold  reception,  which  was  lost  sight 
of  in  the  welcome  accorded  “  Robin  Hood,” 
the  initial  performance  of  which  took  place  at 

27 


28 


REGINA  LI)  DEKO  J  EN. 


Chicago  on  June  9,  1890,  and  has  been  given 
almost  continuously,  at  one  place  or  another, 
ever  since.  The  “  Knickerbockers,”  “Fenc¬ 
ing  Master,”  and  “  Highwaymen,”  have  been 
written  and  performed  since,  all  meeting  with 
more  or  less  success. 

Mr.  DeKoven’s  efforts  and  successes  in  com¬ 
position  have  not  by  any  means  been  confined 
to  opera  writing,  some  of  his  happiest  moods 
being  demonstrated  in  his  song  lyrics,  many 
of  which  have  found  favor  with  a  multitude  of 
singers.  His  most  popular  song,  “O,  Promise 
Me,”  is  indeed  a  passionate  lyric,  while  his 
setting  of  Eugene  Fields’  “Little  Boy  Blue” 
is  a  work  of  purest  pathos  and  directness. 
His  version  of  “  My  Love  is  Like  a  Red,  Red 
Rose”  is  among  the  best  of  its  countless  set¬ 
tings,  and  an  excellent  example  of  ballad 
writing. 

Mr.  DeKoven  is  master  of  a  style  singularly 
perspicuous  and  attractive,  marked  by  decided 
melodies  which  flow  in  an  easy,  graceful  man¬ 
ner,  and  have  added  day  by  day  to  his  circle 
of  admirers  until  his  every  work  is  assured  of 
a  warm  welcome  and  a  wide  performance. 

Reginald  DeKoven  was  born  in  i860  at  Mid¬ 
dletown,  Ct.,  and  enjoyed  unusual  advantages 
for  musical  study.  At  fourteen  years  of  age 
he  entered  the  Stuttgart  Conservatory,  where 


LA  UllEL  WINNERS. 


29 


he  studied  piano,  harmony,  and  counterpoint 
in  the  regular  eour.se.  After  an  intermission 
of  academic  study,  he  returned  to  music  and 
made  special  studies  in  composition  for  the 
class  of  work  to  which  he  has  dedicated  his 
talents,  with  Richard  Genee,  in  Vienna.  He 
also  studied  with  Huff,  and  with  Mathias  and 
Delibes  in  Paris,  being  with  the  latter  at  the 
time  of  his  death  in  1891. 

This  talented  composer  is  at  his  best  in  the 
new  compositions  just  off  the  press.  The  new 
ballad,  “Meet  Me  Dove,  Oh  Meet  Me,”  a 
chansonette  with  subtle  touches  of  pathos  and 
tenderness  ;  the  “  Rhapsodie,’’  with  ’cello  obli¬ 
gato  and  French  and  English  words,  is  a  strong 
and  masterly  composition,  appealing  to  the 
broader  sympathies  of  the  cultured  musician  ; 
the  “Recessional,”  words  by  Rudyard  Kip¬ 
ling,  is  marked  by  a  most  religious  fervor  in 
dignified  rhythmical  measures,  and  bids  fair  to 
be  widely  used  in  all  branches  of  divine  wor¬ 
ship  ;  and  in  “Under  the  Moonlight,”  a  suite 
of  waltzes,  will  be  found  melodies  most  seduc¬ 
tive  and  rhythmical.  These  new  compositions 
show  the  unlimited  resources  as  to  style,  in¬ 
vention,  and  general  character  of  the  works  of 
Reginald  DeKoven. 


THE  LATEST  COMPOSITIONS 

OF 

REGINALD  DeKOVEN. 


Meet  Me  Love,  Oh  Meet  Me. 

High  voice  in  D. 

Low  voice  in  Bb. 

50c. 

Rhapsodie. 

’Cello  obligato.  French  and  English  words. 
High  voice  in  1).  50c. 

Recessional. 

Words  by  Rudyard  Kipling. 

High  voice  in  F.  60c. 

Low  voice  in  Db.  60c. 

Recessional. 

Arranged  for  quartet  or  chorus. 
Octavo  edition  No.  2004. 

IOC. 


Under  the  Moonlight. 

Waltzes.  75c. 


THE  JOHN  CHURCH  COMPANY, 
Cincinnati.  New  York. 
Chicago.  Leipsic. 


SO 


HOMER  N.  BARTLETT. 


I  I  OMJiR  N.  Bartlett,  com- 
*■  *  poser,  organist,  teacher. 
This  well-known  musician  is 
one  of  the  busiest  of  men.  As 
a  composer  he  has  been  one 
of  our  most  prolific  music  mak¬ 
ers.  His  piano  pieces  and  songs 
are  numerous,  and  are  all  char¬ 
acterized  by  refined  harmony, 
fluent  melody,  and  elegant  form.  His  Opus  I, 
the  popular  concert  polka,  has,  after  twenty- 
five  years,  an  ever-increasing  sale.  His  work 
in  composition  shows  a  decided  increase  in 
value,  and  his  style  is  in  general  mature  and 
polished,  while  his  versatility  is  shown  in  the 
wide  range  of  his  work.  He  is  just  now  in 
the  zenith  of  his  powers. 

Mr.  Bartlett  finds  a  congenial  field  for  com¬ 
position  in  the  orchestra.  He  is  a  perfect 
master  of  form  and  knows  all  the  resources  of 
the  modern  orchestra.  He  has  also  imagina¬ 
ry 


32 


IIOMER  N.  BARTLETT. 


tion  and  a  fine  sense  of  the  harmonic  color. 
Among  his  best  work  in  this  line  are  :  “  Ignis 
Fatuus, ”  a  caprice;  two  festival  marches; 
and  his  instrumentation  of  Chopin’s  military 
polonaise,  which  Mr.  Seidl  has  played  several 
times.  As  this  work  seemed  to  need  a  finale 
in  its  larger  form,  Mr.  Bartlett  took  a  liberty 
whose  success  was  its  justification,  and  added 
a  finale  made  up  of  the  three  principal  themes 
interwoven.  Two  recent  orchestral  composi¬ 
tions  are  :  ‘  ‘  Album  Leaf  ’  ’  and  ‘ 1  Caprice  Es- 
pagnole.  ”  Mention  must  also  be  made  of  a 
sextet  for  strings  and  flutes,  and  a  quartet  for 
harp,  organ,  violin,  and  ’cello.  His  violin  con¬ 
certo,  played  at  the  ’98  convention  of  the  M. 
T.  N.  A.,  is  a  dignified,  scholarly  work,  and 
was  rapturously  received.  Among  the  larger 
vocal  forms  will  be  found  a  cantata  for  male 
chorus  and  orchestra,  “The  East  Chieftain;’’ 
two  choruses  for  women’s  voices,  sung  by  the 

4 

Rubinstein  Club,  “  Crucifixus  ”  and  “Autumn 
Violets;’’  an  opera  in  three  acts,  “  Ea  Val- 
liere;”  an  oratorio,  “Samuel,’’  and  a  grand 
dramatic  concert  aria,  “Khamsin,”  for  tenor 
and  orchestra. 

Mr.  Bartlett  has  written  many  excellent  an¬ 
thems  and  solos  for  church  service,  also  some 
organ  music  for  church  and  concert,  especially 
a  “Toccata,”  played  by  Clarence  Eddy. 


LAC  It  EL  WINNERS. 


33 


Four  songs,  “  Florabel,”  “When  the  Golden 
Morn ,  ’  ’  “  The  Wind ,  ”  and  “  Yes  I  Will,  ”  are 
the  latest  additions  of  this  talented  composer 
to  the  field  of  song-literature  —  four  songs, 
very  much  out  of  the  ordinary,  in  writing  of 
■which  it  is  very  difficult  to  avoid  using  su¬ 
perlatives.  Melodic,  musicianly,  original,  and 
more  than  attractive  they  all  are.  They  charm 
you.  It  would  be  impossible  to  find  a  group 
of  songs  that  will  give  the  singer  more  real 
satisfaction,  or  impress  the  hearer  more  firmly. 

Homer  Newton  Bartlett  was  born  at  Olive, 
New  York,  December  28,  1846.  His  ancestry 
runs  far  back  into  New  England,  his  mother 
being  a  descendant  of  John  Rogers,  the  martyr. 
His  talent  for  music  was  evidenced  so  early, 
that  at  eight  years  of  age  he  was  playing  his 
favorite  instrument,  the  violin,  in  public.  At 
fourteen  he  was  a  church  organist  and  at  six¬ 
teen  he  began  a  regular  course  of  instruction 
extending  over  a  period  of  seven  years.  Mills, 
Guyon  (pupil  of  Thalberg),  Pease,  Jacobsen 
and  Braun  were  his  teachers.  Mr.  Bartlett 
resides  in  New  York  City,  where  he  is  a  suc¬ 
cessful  teacher  and  has  been  organist  and 
director  of  music  at  the  Madison  Avenue  Bap¬ 
tist  Church  for  twenty  years. 


FOUR 

NEW 

SONGS. 


BY  HOMER  N  BARTLETT. 


Florabel. 

6oc. 

When  the  Golden  Horn. 

50c. 

The  Wind. 

60  c. 

Yes  I  Will. 

60c. 

Each  in  two  keys. 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago.  Leipsic. 


34 


C.  WHITNEY  COOMBS. 


TN  1878,  at  the  age  of  nine- 
*  teen,  C.  Whitney  Coombs, 
having  completed  the  usual 
school  and  college  course,  leftf§| 
his  native  heath  and  spent  the  % 
thirteen  years  following  among 
the  studios  and  schools,  the 
concert  halls  and  opera  houses 
of  the  music  centres  of  the  old  world.  An 
enthusiastic  and  conscientious  student,  an  ob¬ 
serving  and  earnest  auditor,  he  enjoyed  every 
possible  advantage  found  in  so  congenial  and 
inspiring  an  atmosphere. 

During  these  thirteen  years  of  almost  con¬ 
tinuous  study,  Mr.  Coombs’  musical  education 
was  received  from  the  teachers  of  Stuttgart, 
Dresden  and  London.  Seifriz,  Speidel,  Draes- 
secke,  Janssen  and  Johns  were  the  specialists 
under  whose  teachings  and  influences  were  de¬ 
veloped  the  talents  that  bore  a  rich  fruitage. 
When  seeking  diversion  from  study  or  a  me- 

•  35 


36  C.  W II IT NET  COOMBS. 

dium  of  recreation,  Mr.  Coombs  would  make 
prolonged  visits  in  France,  Italy  and  Switzer¬ 
land,  never  failing,  when  in  the  art  centres 
of  these  countries,  to  avail  himself  of  every 
opportunity  to  see  and  hear  the  best  perform¬ 
ances  in  opera  or  concert.  A  year  was  spent 
in  England  studying  church  music. 

In  1887  he  became  organist  of  the  American 
church  in  Dresden,  which  position  he  held 
until  1891,  when  he  returned  to  America,  since 
which  time  he  has  been  organist  and  choir¬ 
master  of  the  Church  of  the  Holy  Commun¬ 
ion,  New  York  City. 

As  a  writer  of  songs,  Mr.  Coombs  is  most 
successful.  His  compositions  are  versatile  and 
original ;  the  style  ever  terse,  and  the  accom¬ 
paniments  always  skillfully  worked  up.  He  is 
intensely  lyrical.  He  has  done  some  religious 
work,  particularly  an  * ‘ Ave  Maria  ’  ’  with  violin 
obligato.  His  late  songs,  “  Only  a  Rose,”  and 
especially  the  “Amaryllis,”  written  with  all 
the  fervor  that  characterizes  his  more  serious 
work,  furnishes  an  admirable  means  of  form¬ 
ing  a  fair  estimate  of  his  ability  as  a  song 
writer. 


C.  WHITNEY  COOMBS 


SONGS. 


Amaryllis. 

Medium  voice. 
6oc. 


Only  a  Rose. 

High  voice. 
6oc. 


THE  JOHN  CHURCH  COMPANY 

Cincinnati.  New  York. 
Chicago.  Leipsic. 


C  B.  HAWLEY. 


"T'HERE  is  no  more  successful 
*  writer  of  the  short  song, 
and  surely  none  so  popular,  as 
Mr.  C.  B.  Hawley,  of  New  York. 
The  songs  of  this  talented  com¬ 
poser  have  been  voiced  by  a  host 
of  admiring  singers  into  almost 
every  corner  of  music’s  realm. 
Mr.  Hawley,  a  native  of  Con¬ 
necticut,  was  bom  at  Brookfield  in  1858,  and 
passed  his  youth  among  surroundings  and 
influences  that  could  not  but  tend  to  develop 
his  inherited  talents  for  music.  His  father,  a 
successful  New  England  farmer,  was  a  great 
lover  of  the  arts,  and  a  musician  of  refined 
taste  and  skill.  His  mother  was  the  possessor 
of  a  beautiful  voice,  and  the  homestead,  having 
not  only  a  grand  piano  but  a  pipe  organ  as 
well,  was  constantly  filled  with  musical  people. 
The  talents  inherited  and  developed  under  such 
influences  soon  gave  promise  of  greater  things 

38 


L .  I  i  R  EL  II'  INNE  R  S . 


39 


to  come,  for  in  ’71,  at  the  age  of  thirteen,  we 
find  onr  young  musician  at  the  head  of  affairs 
musical  at  the  Cheshire  Military  Academy, 
from  which  he  graduated. 

New  York  City,  1875,  was  the  place  and 
time  of  Mr.  Hawley’s  first  pilgrimage.  Here 
he  studied  voice  under  George  James  Webb, 
Rivarde  arid  Federlein,  and  composition  under 
Dudley  Buck,  Mosenthal  and  Rutenber.  After 
a  year’s  study,  his  excellent  voice  brought  him 
the  position  of  soloist  in  Calvary  Episcopal 
Church,  later  becoming  assistant  organist, 
under  George  William  Warren,  of  St.  Thomas’. 

Mr.  Hawley’s  voice  is  a  full,  deep  basso, 
and  his  excellent  singing  and  general  musical 
ability  are  matters  of  much  pride  and  comment 
among  the  worshipers  at  the  Broadway  Taber¬ 
nacle,  where  he  has  been  since  1883.  He  is 
also  a  busy  and  successful  teacher  of  voice. 
As  a  leading  spirit,  for  a  dozen  years  or 
more,  of  the  Mendelssohn  Glee  Club  and  Men¬ 
delssohn  Ouartet  Club,  he  has  written  some 
excellent  part-songs,  which  were  first  sung  at 
their  concerts. 

As  a  composer,  C.  B.  Hawley  holds  a  recog¬ 
nized  position  among  the  best  of  American 
song  writers.  With  an  ability  that  is  rarely 
equaled,  with  taste  instinctively  refined,  a 
style,  the  charm  of  which  is  in  its  grace  and 


4° 


C.  /  >'.  llAWLEV. 


melody  combined  with  marked  originality  — 
these  and  other  qualities  emphasized  by  suc¬ 
cess  upon  success  —  makes  these  few  lines, 
dedicated  to  the  eulogy  of  his  work,  seem 
faint  and  meagre  indeed.  The  immense  and 
deserved  success  of  such  songs  as  ‘  ‘  My  Little 
Love,”  “Because  I  Love  You,  Dear,”  “Ah! 
’Tis  a  Dream!”  and  “When  Love  is  Gone,” 
are  constant  testimonials  to  the  affluent  rich¬ 
ness  of  Mr.  Hawley’s  compositions. 

The  latest  offerings  of  this  talented  com¬ 
poser  are  three  songs,  full  of  tender  and  touch¬ 
ing  melodies — “The  Sweetest  Flower  That 
Blows,”  “I  Only  Can  Love  Thee,”  and 
“Sleep!  Sleep!” — songs  as  original  and  im¬ 
pressive  as  any  he  has  ever  written. 


THREE  NEW  AND  BEAUTIFUL  SONGS 
BY  C.  B.  HAWLEY. 


The  Sweetest  Flower  That  Blows. 

Two  keys.  Each  40c. 

I  Only  Can  Love  Thee. 

Two  kevs.  Each  60c. 

• 

Sleep !  Sleep ! 

Two  keys.  Each  40c. 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago.  I.eipsic. 


CLAYTON  JOHNS. 


ITH  the  rest  of  the  song- 
loving  world,  we  come 
with  our  homage  to  Clayton 
Johns.  His  many  sweet  and 
tender  songs  have  been  sung 
and  sung  again  by  a  host  of 
singers,  and  have  found  lodge¬ 
ment  in  the  hearts  of  a  still 
greater  number  of  listeners, 
the  most  prolific  of  American  song  writers, 
and  his.  compositions  are  always  pleasing  and 
polished. 

Clayton  Johns  was  born  at  New  Castle.  Del¬ 
aware,  November  24,  1857.  His  ancestors, 
one  of  whom  was  Richard  Johns  of  the  Cliffs, 
Maryland,  were  identified  with  the  growth 
and  prosperity  of  Delaware  and  Maryland  for 
many  generations  back.  Nicholas  Van  Dyke, 
governor  of  Maryland,  was  his  great-great 
grandfather,  and  the  Honorables  Kensey 
Johns,  father  and  son,  chancellors  of  Dela- 


42 


L  A  l  It  EL  II  Y  A WE  It  S . 


43 


ware,  were  his  great  grandfather  and  grand¬ 
father. 

Unlike  the  usual  career  of  musicians,  Mr. 
Johns  did  not  begin  the  study  of  music  in 
early  youth,  entering  Rugby  Academy  at  Wil¬ 
mington  for  the  purpose  of  fitting  for  Prince¬ 
ton.  Law  was  the  object  in  the  minds  of  his 
parents,  but  the  student  had  always  shown  a 
fondness  for  music.  An  aptness  for  drawing 
inclined  him  somewhat  toward  architecture, 
and  the  latter  was  finally  agreed  upon  as  a 
compromise.  His  preference  for  music  finally 
prevailed,  and  in  January,  1879,  he  began  the 
study  under  Mr.  William  F.  Apthorp,  at  Bos¬ 
ton,  later  continuing  under  William  H.  Sher¬ 
wood,  and  at  Harvard  under  John  Knowles 
Paine.  The  studies  at  Harvard  were  contin¬ 
ued  two  years,  and  then,  after  one  year  more 
at  Boston,  he  went  to  Berlin,  where  he  re¬ 
mained  until  1884,  studying  composition  with 
Friedrich  Kiel  and  the  piano  with  Graubau, 
Raif,  and  Franz  Rummel.  In  1884  he  re¬ 
turned  to  Boston,  and  has  been  living  there 
ever  since,  playing  in  public  from  time  to  time, 
teaching  and  composing. 

While  Mr.  Johns  is  preeminently  a  song 
writer,  he  has  done  some  excellent  work  in 
other  forms.  His  berceuse  and  scherziuo  have 
been  played  by  the  Boston  Symphony  Orches- 


44 


CL  A  TTON  JOHNS. 


tra  ;  several  of  his  part-songs  and  a  chorus  for 
female  voices  and  string  orchestra  have  been 
given  in  Boston  and  London.  His  published 
piano  compositions  number  about  a  dozen,  and 
for  violin  and  piano,  five,  all  redounding  to 
the  credit  of  the  composer. 

Mr.  Johns  has  passed  several  seasons  in 
London,  where  his  songs  have  been  sung  by 
Madame  Emma  Eames,  Miss  Marie  Brema, 
Mr.  David  Bispham  and  others,  Mr.  Johns 
accompanying  them. 

The  latest  compositions  of  Mr.  Johns  — 
“Chansons  d’ Automne”  and  “A  Saint  Blaise” 
—  two  French  songs,  with  excellent  transla¬ 
tions,  are  without  doubt  the  best  work  he  has 
done.  They  are  brilliant  and  artistic,  veritable 
art  songs,  in  which  all  lovers  of  high-class, 
refined  music  will  find  beauties  that  will  en¬ 
hance  with  each  repetition. 


CLAYTON  JOHNS. 


TWO  FRENCH  SONGS: 


Chansons  d’Automne. 

French  and  English  words. 
40c. 


A  Saint  Blaise. 

French  and  English  words. 
40c. 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago.  Eeipsic. 


45 


HOMER  A.  NORRIS. 


‘  '  .  v  '  S  f, 

OMER  A.  X orris  entered 
music’s  domain  at  a  very 
early  age,  becoming  an  organist 
in  his  native  town  when  quite 
young.  His  chief  interest,  how¬ 
ever,  has  always  been  in  the 
theory  of  music,  of  which  to¬ 
day  he  is  one  of  the  leading 
exponents  in  America.  His  “  Pradtical^  Har¬ 
mony”  is  an  excellent  text-book,  with  many 
new  ideas  and  much  new  exposition  of  old 
ones. 

Mr.  Norris  was  born  in  Wayne,  Maine,  and 
began  the  study  of  music  with  teachers  of  his 
native  town,  later  removing  to  Boston,  and 
eventually  studying  with  Emery,  Chadwick, 
Hale  and  Marston.  In  deciding  upon  foreign 
study  he  chose  the  French  schools  and  masters 
instead  of  the  German.  This,  an  unusual  pro¬ 
cedure,  has  given  him  an  unique  place  among 
American  musicians.  After  a  four  year’s 

4fi 


L  A  U RE  L  J I  /XX E R S . 


47 


course  at  Paris,  under  Dubois,  Godard,  Guil- 
mant  and  Gigout,  he  returned  to  Boston  and 
has  confined  his  labors  since  to  the  teaching 
of  theory  and  composition. 

The  compositions  of  Mr.  Norris,  though  not 
numerous,  are  of  such  attractive  qualities  that 
much  interest  is  always  felt  in  the  announce¬ 
ment  of  the  publication  of  a  new  one.  His  first 
published  song,  “  Rock-a-bye  Baby,”  without 
doubt  the  most  widely  circulated  cradle-song 
of  any  published  in  America,  while  it  brought 
him  no  financial  returns,  as  he  sold  it  for  a 
few  printed  copies,  was  a  means  of  introducing 
its  composer  in  a  gentle  but  abiding  manner 
to  the  musical  public  of  this  country.  A  few 
other  songs  followed,  all  showing  marked  abil¬ 
ity  at  song  writing,  especially  “Protestations,” 
a  beautiful  song  with  a  fervid  violin  obligato. 
His  newer  songs — “The  Red  Rose”  is  an 
admirable  bit  of  short-song  writing;  “Jessie 
Dear”  is  a  bright,  sweet,  simple  love  song, 
abounding  in  tender  melody. 

No  verse  has  been  so  frequently  set  to  music 
as  Heine’s  “Du  bist  wie  eine  Blume, ”  and 
every  Boston  composer  has  made  a  setting  of 
it.  Mr.  Norris,  too,  has  felt  its  inspiring  in¬ 
fluence  and  made  a  very  musical  setting — one 
of  the  best  by  the  Boston  composers. 

In  more  pretentious  forms  are  found  a  can- 


4» 


HOMER  A.  NORRIS. 


tata  “  Nain  ”  and  a  concert  overture  “  Zoroas¬ 
ter,”  produdtions  of  a  high  order  of  merit  and 
giving  some  idea  of  what  the  composer  can 
and  will  do,  when  so  inclined.  He  has  also 
written  a  ”  Romanza”  for  violin  and  piano,  a 
melodious  composition  of  much  dignity. 

As  a  ledturer,  Mr.  Norris  has  an  intimacy 
with  the  characteristics  and  methods  of  the 
great  composers  such  as  few  can  command ; 
his  manner  is  unaffected  and  pleasing,  and  he 
clothes  his  ideas  in  such  beautiful  English 
that  one  wishes  lie  might  halt  occasionally  in 
doling  out  his  interesting  information,  to  allow 
one  to  take  in  the  full  beauty  of  his  way  of 
presenting  it. 

Homer  A.  Norris  is  verily  a  worthy  mem¬ 
ber  of  the  Boston  colon)’  of  musicians  and  an 
able  representative  of  American  musical  art. 


HOMER  A.  NORRIS. 


THREE  SONGS. 


Jessie  Dear.  The  Red  Rose. 

Three  keys.  400.  Medium  voice.  30c. 

Thou  Art  So  Like  a  Flower. 

High  voice.  30c. 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago.  Ceipsic. 


49 


JULES  JORDAN. 


I\  A  R.  Jules  Jordan,  of  Provi- 
*  '  *  dence,  Rhode  Island,  is  a 
musician  of  established  reputa¬ 
tion.  As  conductor,  composer,  .  j 
singer  and  teacher,  he  has  been 
before  the  American  public  for 
a  score  of  years,  and,  being  a 
master  in  his  art,  has  reached 
an  eminent  position  in  American  music. 

Mr.  Jordan  was  born  in  Willimantic,  Conn., 
November  10,  1850.  Always  interested  in 
music,  and  possessed  of  much  natural  talent 
and  ability  for  it,  he  yet  had  little  opportunity 
for  its  systematic  development  till  he  removed 
to  Providence,  in  1870.  He  made  a  thorough 
study  of  singing  in  this  country  with  George 
L.  Osgood,  of  Boston,  in  Europe  with  William 
Shakespeare  of  London,  and  Signor  Sbriglia 
of  Paris.  He  has  been  a  diligent  student, 
under  the  guidance  of  the  best  foreign  and 

native  masters,  and  has  delved  deep  in  all  the 

50 


LAUREL  WINNERS. 


51 


branches  of  the  art.  After  completing  his 
studies  in  Europe  he  returned  to  Providence, 
where  he  is  now  a  prominent  figure  in  the 
musical  life  of  the  city. 

In  the  field  of  composition,  Mr.  Jordan  has 
confined  his  work  to  that  of  the  vocal.  He 
has  written  three  works  for  solo,  chorus  and 
orchestra  that  have  been  in  much  demand  by 
choral  societies,  and  show  him  to  be  a  com¬ 
poser  of  much  ability:  ‘ ‘  Wind-swept  Wheat, ’ ’ 
“A  Night  Service,”  and  ‘‘Barbara  Fritsche.” 
Also  ‘‘Joel,”  a  dramatic  scene  for  soprano  and 
orchestra,  sung  at  the  Worcester  Musical  Fes¬ 
tival  by  Madame  Nordica.  His  “  Rip  Van 
Winkle,”  a  romantic  opera  in  three  acts,  of 
which  Mr.  Jordan  also  wrote  the  libretto,  had 
a  successful  initial  performance  last  season.. 
He  has  written  some  religious  songs,  part- 
songs,  and  many  charming  ballads,  some  of 
which  have  been  extremely  popular.  The 
rapturous  ‘‘Love’s  Philosophy,”  the  dainty 
‘‘Dutch  Lullaby,”  Eugene  Field’s  ‘‘Wynken 
and  Blynken  and  Nod,”  ‘‘An  Old  Song,”  and 
‘‘Stay  By  and  Sing,”  are  all  well  known, 
alike  to  singer  and  concert-goer. 

‘‘A  Morning  Serenade,  ”  sung  by  the  famous 
baritone,  Campanari,  is  the  latest  addition  to 
the  famous  list  of  Mr.  Jordan’s  songs,  and  the 
highest  praise  that  can  be  given  it  is  to  say 


JULES  JORDAN. 


52 

that  it  is  a  worthy  successor  to  its  well-known 
predecessors. 

To  singers  of  sacred  song  seeking  new  solos, 
we  heartily  commend  three  new  compositions 
by  Mr.  Jordan,  “God’s  Love,’’  “O  Sacred 
Head  Now  Wounded,”  and  “While  Mary- 
Slept,”  three  religious  songs  of  deeply  devo¬ 
tional  music  in  unison  with  the  harmonies  of 
the  soul  and  of  God. 

Although  fully  occupied  for  years  in  the 
various  branches  of  his  profession,  Mr.  Jordan 
finds  his  field  of  labor  constantly  enlarging, 
particularly  that  of  conducting,  for  which  he 
is  especially  well  equipped  and  adapted,  and 
in  which  he  has  had  the  greatest  success. 

“  His  heart  is  in  the  work,  and  the  heart 
Giveth  grace  unto  every  art.” 


JULES  JORDAN. 


LATEST  VOCAL  COHPOSITIONS : 

A  Horning  Serenade. 

In  three  keys.  50c. 

God’s  Love. 

High  voice.  50c. 

O  Sacred  Head  Now  Wounded. 

In  two  keys.  50c. 

While  Hary  Slept. 

In  two  keys.  40c. 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago.  Leipsic. 


53 


JAMES  CARROLL  BARTLETT, 


'"PHIS  widely  -  known  musi- 
1  cian  —  famous  by  reason 
of  his  marked  ability  in  gen¬ 
eral  musicianship  —  has  the 
reputation  of  being  the  fore- 
|  most  tenor  of  New  England 
Land  one  of  the  representative 
singers  of  America.  That  his 
claim  to  the  position  is  well- 
established  and  has  been  honestly  won  can 
not  be  doubted  by  any  one  who  has  been  so 
fortunate  as  to  hear  him.  His  is  a  tenor  voice 
of  exquisite  purity  and  silvery  timbre,  of  full 
range  and  ample  power,  which  he  always  uses 
judiciously  and  within  bounds.  His  efforts 
are  entirely  convincing  and  absolutely  devoid 
of  sensationalism,  upon  which  so  many  singers 
depend  for  success. 

Mr.  Bartlett  was  born  at  Harmony,  Maine, 
in  1850.  The  year  1869  found  him  in  Boston, 
diligent  in  the  study  of  the  art  of  his  future 


LA  l  REL  It ' INNER S. 


55 


vocation.  His  first  instructors  were  Stephan 
A.  Emery  and  John  O’Neill  —  later  studying 
with  George  L.  Osgood,  C.  A.  Guilmette,  Dr. 
H.  R.  Streeter,  of  Boston,  and  Wm.  Shakes¬ 
peare  of  London. 

The  first  professional  tour  of  the  subject  of 
this  sketch  was  made  in  1875-6  with  Mine. 
Camilla  Urso’s  Concert  Company,  and  this 
young  tenor,  then  but  twenty-five,  received 
many  creditable  notices  from  the  press  en 
route.  He  later  travelled  with  the  Carreuo- 
Sauret  and  Barnabee  Concert  Companies,  ever 
and  always  receiving  a  flattering  share  of  the 
recognition  of  worth  bestowed  upon  these 
famous  artists.  Mr.  Bartlett  has  literally  sung 
his  way  into  thousands  of  American  hearts. 

This  master-singer  is  also  a  teacher  of  such 
solid  reputation  that  the  figures  on  the  old 
town  clock  of  Boston  are  too  few  to  number 
the  hours  of  a  day  demanded  of  Mr.  Bartlett 
for  this  branch  of  his  work.  He  is  indeed  a 
busy  and  successful  musician. 

As  a  composer  of  songs,  Mr.  Bartlett  is  well 
and  favorably  known ;  his  beautiful  composi¬ 
tion,  “A  Dream,”  being  sung  by  almqst  every 
concert  singer  worthy  the  name. 

Of  the  many  excellent  songs  from  his  pen, 
none  are  so  charming,  none  with  more  beau¬ 
tiful  melodies  or  finer  sentiments  than  his 


56  JAMES  CARROLL  BARTLETT. 

recently  published  sacred  song,  “  If  I  Should 
Sleep.”  The  poem  is  of  such  beauty,  that  we 
quote  the  first  verse  : 

"  If  I  should  sleep,  and  wake  not  on  the  morrow 
To  earth,  its  cares  and  tears, 

Leave  all  behind,  the  mingled  joy  and  sorrow. 

Its  smiles  and  futile  tears  ; 

Where  would  my  footsteps,  ever  prone  to  straying. 
Lead  me  then  blindly  on  ? 

Should  I  in  darkness  grope,  forever  praying 
To  meet  the  promised  dawn?” 


JAMES  CARROLL  BARTLETT. 


“  If  I  Should  Sleep.” 

Two  keys. 

6oc. 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago.  Leipsic. 


57 


ROBERT  COVERLEY. 


AMONG  our  younger  composers 
who  have  already  acquired 
merited  popularity  is  Robert 
Cove r EE y,  now  widely  and  favor¬ 
ably  known  to  the  musical  world 
through  his  numerous  published 
compositions.  Mr.  Coverley  was* 
born  at  Oporto,  Portugal,  Septem¬ 
ber  6,  1863,  of  Scotch -Portuguese  parentage. 
At  a  very  early  age  he  gave  evidence  of  rare 
musical  ability,  instructing  himself  in  coun¬ 
terpoint,  violin  and  piano,  and  improvising 
with  great  facility.  Between  the  ages  of  ten 
and  twelve  he  had  already  composed  several 
numbers  for  violin  and  piano,  besides  orches¬ 
trating  several  pieces.  His  parents  being 
averse  to  his  receiving  instruction  in  music, 
it  was  not  until  he  was  fourteen  years  old 
that  he  took  his  first  lessons  in  counterpoint 
and  violin  from  a  graduate  of  the  Paris  Con¬ 
servatory,  who  was  greatly  astonished  at  the 

58 


LA  UREL  WINNERS. 


59 


musical  knowledge  his  pupil  had  acquired  by 
self-instrudlion. 

Coverley  first  achieved  popularity  in  London 
in  the  lighter  orchestral  forms.  Of  later  date 
he  has  devoted  himself  to  more  serious  work, 
as  may  be  seen  by  his  numerous  compositions 
for  piano,  consisting  of  concert  etudes,  taran¬ 
tellas  of  decided  brilliancy,  and  short  pieces. 
As  a  song  writer  Mr.  Coverley  has  gained  a 
high  place  among  American  composers,  his 
songs  being  distinctly  beautiful  both  in  melody 
and  harmonic  treatment.  The  “Serenade” 
with  violin  obligato  is  richly  beautiful,  the 
violin  part  being  truly  obligato.  “An  Old 
Skull,”  is  somewhat  on  the  style  of  the  well- 
known  Old  Sexton  song,  though  it  is  better 
by  reason  of  its  lack  of  a  refrain.  It  is  an 
excellent  bit  of  Macaberesque  humor,  perfectly 
carrying  out  the  neat  verse  of  Mr.  James  Clar¬ 
ence  Harvey. 

Mr.  Coverlev’s  most  popular  song  is  “  In 
Dreams;”  and,  “I  Dreamed  Again”  and 
“Sweet  Thoughts  of  Thee,”  are  very  fervent 
and  lyrical.  One  of  his  best  compositions  for 
piano  is  the  “Tarantella”  in  D  minor,  which 
is  written  with  extreme  cleverness,  and  dis¬ 
plays  all  the  tarantula  frenza  which  should  be 
the  inspiration  of  all  tarantellas,  though  it  is 
actually  the  spirit  of  hardly  any  of  them. 


6o 


ROBER  T  CO  VERLE  T. 


In  pursuance  of  a  long-coveted  desire  to 
see  the  new  world,  Mr.  Coverley  came  to  New 
York  in  1883,  and  finding  it  advantageous  to 
remain  in  this  country,  became  an  American 
citizen. 


VOCAL  AND  INSTRUMENTAL 
COMPOSITIONS  OF 
ROBERT  COVERLEY. 


VOCAL. 

Alas. 

Two  keys.  25c. 

I  Dreamed  Again. 

Medium  voice.  50c. 

In  Dreams. 

Two  keys.  50c. 

Norwegian  Love  Song. 

Two  keys.  50c. 

An  Old  Skull. 

Baritone  or  bass.  40c. 

Sweet  Thoughts  of  Thee. 

High  voice.  50c. 

Serenade. 

(Vjolin  obligato) 

High  voice.  30c. 

What  Love  Said. 

Medium  voice.  40c. 

INSTRUMENTAL. 

L’Enquietude. 

60c. 

Peacefully  Slumber. 

30c . 

Tarantella. 

75°  • 

THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago.  Leipsic. 

61 


HENRY  K.  HADLEY. 


H 


ENRY  K.  Hadley  (who 
does  not  know  or  know 
of  this  talented  young  Ameri¬ 
can  composer?)  is  an  acknowl¬ 
edged  master  of  composition, 
his  symphony,  orchestral  suites, 
songs,  violin  sonata  and  other 
works  being  resplendent  with 
fecund  imagination,  poetic  gifts,  and  showing 
•entire  control  of  the  technic  of  the  art. 

His  Symphony  No.  i,  which  he  calls  “A 
Symphony  of  Youth  and  Life,”  was  first  per¬ 
formed,  under  the  direction  of  Anton  Seidl, 
at  Chickering  Hall,  New  York,  on  December 
15th  of  last  year.  Spontaneous  applause  fol¬ 
lowed  each  movement  and  the  composer  was 
recalled  several  times  at  its  finish.  The  con¬ 
struction  of  the  symphony  is  upon  heroic 
lines,  and  by  his  bold  grasp  of  leading  motives 
and  the  harmonious  treatment  of  them  so  as  to 
express  the  governing  impulses  of  humanity, 

62 


LA  UREL  WINNERS. 


63 


the  young  composer  shows  vitality  —  which 
presages  much  for  the  future. 

Mr.  Hadley  is  indeed  a  prolific  composer. 
Besides  his  symphony,  he  has  written  several 
orchestral  suites  which  have  had  performances 
by  Neuendorff  and  Franko,  a  concert  over¬ 
ture  “  Hector  and  Andromache,”  given  by  Mr. 
Damrosch  in  1892,  a  ‘‘Festival  March”, for 
military  band,  performed  by  Sousa  in  1896, 
and  some  trios,  quartets  and  other  chamber 
music.  Of  his  choral  works,  of  which  he  has 
written  a  half-dozen  or  more,  two  are  pub¬ 
lished :  ‘‘The  Fairies,”  a  ballad  for  solo, 

chorus  and  orchestra,  and  ‘‘  Lelawala,”  a  le¬ 
gend  of  Niagara,  for  solo,  chorus  and  orches¬ 
tra.  Several  of  his  part-songs  and  choruses, 
sacred  and  secular,  have  been  published  both 
here  and  abroad.  His  piano  numbers,  though 
few  in  number,  are  excellent,  while  in  his 
songs  there  is  a  suspicion  of  the  influence  of 
Franz.  They  are  all  highly  finished  and 
effective,  are  musicianly  and  good  in  a  variety 
of  ways. 

Mr.  Hadley  is  probably  the  youngest  of  our 
representative  composers,  being  born  in  1871 
at  Somerville,  Mass.  His  talents,  especially 
for  composition,  were  encouraged  by  tutorage 
under  Stephen  Emery  and  George  W.  Chad¬ 
wick  of  Boston  and  Mandyczewski  of  Vienna. 


64 


1/ENRV  A'.  HAD  LEV. 


He  also  studied  violin  with  Csillag  while  at 
Vienna  in  ’94.  In  1895  he  accepted  the  chair 
of  music  at  St.  Paul’s  School,  Garden  City, 
New  York,  which  position  he  now  holds. 

The  recently  published  compositions  of  Mr. 
Hadley  consist  of  two  beautiful  songs — “  By 
Moonlight,”  and  ‘‘If  Love  were  What  the 
Rose  is” — and  the  dainty  “Intermezzo”  from 
Ballet  Suite  No.  3,  arranged  for  piano  solo. 
The  musical  handling  of  these  newer  compo¬ 
sitions  give  them  a  character  wholly  out  of 
the  commonplace,  and  they  deserve  the  atten¬ 
tion  of  all  lovers  of  the  truly  beautiful  in 


music. 


HENRY  K.  HADLEY. 


TWO  NEW  SONGS  AND 

A  PIANO  COHPOSITION  : 

VOCAL. 

By  Hoonlight. 

Two  keys.  Each  40c. 

If  Love  were  What  the  Rose  is. 

Two  keys.  Each  50c. 

PIANO. 

Intermezzo. 

From  Ballet  Suite  No.  3. 

75°  • 


THE  JOHN  CHURCH  COMPANY. 


Cincinnati. 

Chicago. 


New  York. 
I.eipsic. 


65 


ISIDORE  LUCKSTONE. 


ISIDORE  Luckstone, blessed 
*  with  innate  musical  talents, 
matured  and  polished  by  a  lib¬ 
eral  education  and  a  rich  exper¬ 
ience  gleaned  from  extensive 
travel  around  the  world  with 
artists  of  the  highest  rank,  is  a  '  1 
composer  with  more  than  the 
usual  resources  at  his  command.  He  has  been 
connected  with  vocalists  and  vocal  work  ever 
since  he  became  a  professional  musician,  in 
1876,  as  conductor  of  opera,  concerts,  chor¬ 
uses,  etc.,  dnd  as  a  teacher  and  accompanist. 

Mr.  Luckstone  is  a  voice  specialist,  and, 
making  more  than  ordinary  study  in  facilita¬ 
ting  difficulties  by  making  them  as  natural 
to  the  voice  as  possible,  has  been  particularly 
successful  as  a  teacher ;  his  research  and 
knowledge,  combined  with  his  ability  for  mel¬ 
odic  invention,  have  placed  him  in  the  field 

of  composition  as  a  writer  of  songs  with  the 

66 


LA  UREL  WINNERS. 


67 


happy  faculty  of  writing  music  which  is  used 
by  the  amateur  as  well  as  by  the  best  artists, 
for  the  difficulties  are  not  insurmountable. 

Mr.  Luckstone  is  a  Baltimorean  by  birth, 
but  was  brought  up  in  New  York  City  and 
has  had  the  advantage  of  growing  up  with 
the  musical  progress  of  the  latter  city. 

After  having  travelled  through  this  country 
as  musical  director  of  various  organizations, 
Remenyi,  Urso,  Janauschek,  Jefferson  and 
others,  he  left  the  United  States  for  a  concert 
tour  of  the  world,  and  it  is  probable  that  no 
other  musician  in  this  country  has  made  so 
extensive  a  concert  tour  as  he  has.  Leaving 
San  Francisco  in  July,  1884,  he  played  in 
every  town  of  any  consequence  in  every  coun¬ 
try  visited,  which  included  the  Hawaiian  Is¬ 
lands,  New  Zealand,  Australia,  Tasmania, 
Java,  Burmah,  India,  Ceylon,  Singapore, 
Straits  Settlements,  China,  Japan,  Philipine 
Islands,  Annam,  Madagascar,  etc.,  etc.,  and 
returned  by  way  of  Europe  in  1891. 

He  is  therefore  known  as  well  in  foreign 
lands  as  he  is  here,  and  his  great  experience 
has  given  him  wide  knowledge  as  to  the  class 
of  songs  most  effective  for  concerts.  This 
knowledge  has  borne  fruitage  in  such  success¬ 
ful  songs  as  “Delight’’ — a  brilliant  concert 
waltz  song  made  famous  by  Mme.  Nordica, 


68 


ISIDORE  RCCKSTONE. 


Elandi  and  others;  “Sweet  Nightingale” — a 
decidedly  melodious  and  rhythmical  concert 
song  of  much  brilliancy  ;  and  five  charming 
ballads — ‘  ‘  Only/  ’  ‘  ‘  Remembrance, ”  “  Would 
I  Had  Known,”  “Forsaken,”  and  “The  Rea¬ 
son  Why.”  Strange  to  say,  although  a  warm 
devotee  of  Wagner,  his  style  is  more  French 
than  German. 

For  material  for  new  composition,  Mr.  Ruck- 
stone  has  found  inspiration  in  the  story  so  well 
known  through  Edward  W.  Bryant’s  lines, 
“The  Clown’s  Serenade,”  and  has  made  a 
musical  setting  delightfully  in  keeping  with 
this  quaint  bit  of  verse.  It  is  a  dainty  and 
piquant  bit  of  melody  and  is  published  in  two 
keys.  “The  Minstrel,”  a  romantic  song  for 
baritone,  is  another  new  and  exquisite  bit  of 
ballad  writing. 

Since  Mr.  Ruckstone’s  return  from  Europe 
he  has  made  several  concert  tours  in  this 
country  with  Mme.  Nordica,  Mine.  Materna, 
Ceasar  Thomson,  Ondricek,  and  others.  He 
is  now  located  in  New  York,  where  he  has 
decided  to  remain  permanently,  teaching  and 
conducting,  and  has  every  evidence  that  his 
services  will  be  appreciated 


ISIDORE  LUCKSTONE. 


NEW  SONGS  .-. 


The  Clown’s  Serenade. 

Two  keys.  50c. 

The  ninstrel. 

For  baritone.  60c. 

.*.  FAnOUS  SONGS  .*. 

Delight. 

Concert  waltz  song.  Two  keys.  75c. 

Forsaken. 

Low' voice.  1  ’Cello  obligato  ad  lib.  1.  75c. 

Only. 

Medium  voice.  40c. 

Remembrance. 

Medium  voice.  60c. 

Sweet  Nightingale. 

High  voice.  75c. 

The  Reason  Why. 

High  voice.  50c. 

Would  I  Had  Known. 

Two  keys.  50c. 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  Xew  York. 
Chicago.  Leipsic. 


69 


GEORGE  W.  MARSTON. 


EO.  W.  Marstox’s  com- 
positions  have  been  mainly 
in  the  smaller  forms- — excelling 
in  church  music  and  song  writ¬ 
ing.  The  first  song — and  the 
first  was  very  successful — was 
a  setting  of  Thomas  Bailey 
Aldrich’s  quaint  little  verses, 
“Where  Go  You,  Lovely  Maggie?”  which  was 
followed  by  many  others  of  greater  or  lesser 
merit,  which  gained  popular  favor  and  were 
quite  universally  sung.  Concert  goers  and 
singers  of  the  early  seventies  will  recall  with 
much  pleasure  such  songs  as  “  Across  the  Far 
Blue  Hills,  Marie,”  “Forever  and  for  Aye,” 
“Marguerite,”  and  “Douglas,  Tender  and 
True.”  Mr.  Marston  treasures  a  letter  re¬ 
ceived  from  Miss  Muloch,  the  author  of  the 
words  of  “Douglas,”  in  which  she  compli¬ 
ments  him,  and  thanks  him  for  the  musical 
setting  which  she  considers  the  only  one  that 

70 


LAV  RE  I.  WINNERS. 


7i 


satisfies  her  completely.  His  creed  of  song 
writing,  “  to  avoid  clouding  the  sentiments  of 
the  words  by  a  too  heavy  or  abstruse  accom¬ 
paniment,”  and  his  consideration  of  the  lim¬ 
itations  of  the  human  voice,  are  highly  to  be 
commended. 

Mr.  Marston  has  written  much  church  music 
— services,  anthems,  sentences  and  songs — and 
though  the  quantity  has  been  great  the  quality 
has  been  greater.  Part-songs  for  male  voices, 
trios,  quartetts  and  choruses  for  female  voices, 
a  sacred  dramatic  cantata  “  David,”  two  books 
of  German  songs'  with  English  translations, 
and  a  book  of  English  songs  “  Grave  and 
Gay,”  make  a  record  of  work,  well  done,  that 
Mr.  Marston  may  well  be  proud  of. 

His  newest  compositions  comprise  two  ex¬ 
ceedingly  well  written  and  musical  songs, 
“Eldorado,”  set  to  Edgar  Allan  Poe’s  lines, 
in  which  the  character  of  the  music  conforms 
to  the  lights  and  shades  of  the  verse,  is  an  ex¬ 
cellent  song  for  baritone  or  bass  ;  “  Regrets,” 
a  ballad  for  tenor  or  soprano,  written  in  a 
tender,  simple,  but  earnest  style.  Two  new 
sacred  songs,  “One  Sweetly  Solemn  Thought,  ’  * 
and  “Come  ye  Saints,  Look  here  and  Wonder,  ” 
the  one  sweet  in  its  simplicity,  the  other  vig¬ 
orous  in  its  festival  setting,  are  destined  soon 
to  be  sung  in  every  house  of  worship.  For 


72 


(iEORUE  IV.  MARS  TON. 


the  choir,  a  duet  for  soprano  and  alto,  “I 
Heard  the  Voice  of  Jesus  vSay,”  and  two  an¬ 
thems,  “The  Spirit  in  Our  Hearts”  and 
“Peace,  it  is  I,”  are  worthy  the  attention  of 
every  choir  leader. 

George  W.  Marston  was  born  in  Sandwich, 
Mass.,  May  23,  1840.  He  remained  at  home, 
attending  the  schools  of  the  town  and  study¬ 
ing  music  under  a  local  teacher  until  he  was 
eighteen  years  old.  At  sixteen  he  was  play^- 
ing  the  organ  in  the  P'irst  Congregational 
Church  of  Sandwich.  About  1859  Mr.  Mars¬ 
ton  removed  to  Portland,  Me.,  where  he  has 
been  teaching  ever  since,  and  where  for  thir¬ 
teen  years  he  has  been  organist  of  the  Hale 
Street  Congregational  Church,  and  it  was  for 
the  remarkably  fine  choir  of  that  church  for 
which  he  wrote  much  of  the  church  music 
that  has  since  had  so  large  a  circulation. 

Mr.  Marston  received  the  groundwork  of  a 
higher  education  from  John  W.  Tufts,  and 
has  made  two  pilgrimages  to  Europe  for  in¬ 
struction,  where  he  studied  with  the  best 
masters,  always  returning  to  Portland  to  again 
take  up  his  work  on  ever  broadening  lines. 


RECENT  COMPOSITIONS  OF 
GEORGE  W.  MARSTON. 


Eldorado. 

Baritone  or  bass.  6oc. 

Regrets. 

Soprano  or  tenor.  40c. 

Come  ye  Saints,  Look  here  and  Wonder. 

High  voice.  60c. 

One  Sweetly  Solemn  Thought. 

Medium  voice.  50c. 

I  Heard  the  Voice  of  Jesus  Say. 

Duet  (soprano  and  alto).  8c. 

Peace,  it  is  I. 

Anthem.  12c. 

The  Spirit  in  Our  Hearts. 

Anthem,  ioc. 

This  is  the  Day  which  the  Lord  hath  Made. 

Anthem.  20c. 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago.  Leipsiq. 


73 


ALBERT  J.  HOLDEN. 


A  LBERT  J.  Holden  is  with- 
out  doubt  one  of  the  fore¬ 
most  composers  of  church  music 
in  America.  Firmly  adhering 
to  the  belief  that  music  in  the 
church  should  be  a  religious 
power  and  not  merely  an  orna¬ 
ment,  he  has  been  earnest  in  his 
endeavor  to  compose  nothing  for  the  song 
worship  of  the  church  that  would  detract  from 
its  reverential  and  spiritual  character. 

During  his  career  as  organist,  which  extends 
over  a  period  of  thirty  years  in  churches  of 
various  denominations  of  New  York  City,  Mr. 
Holden  has  written  a  quantity  of  religious 
music.  His  published  compositions  number 
about  three  hundred  anthems,  hymns  and 
part-songs,  about  twenty  songs  and  duets,  and 
four  books ;  these  various  publications  have 
sold  to  the  extent  of  about  two  hundred  and 
fifty  thousand  copies,  covering  a  period  of 

74 


LA  UREL  WINNERS.  75 

twenty  years.  In  all  this  vast  quantity  of 
composition,  there  is  little  in  quality  that  falls 
below  the  standard  of  good  religious  church 
music,  and  much  there  is  among  it  that  will 
interest  the  learned  musician,  while  the  aver¬ 
age  choir-leader  and  singer  can  find  much  that 
is  not  difficult,  but  at  the  same  time  is  melodi¬ 
ous,  well-developed  and  strictly  devotional. 

Mr.  Holden  has  written  some  excellent  bal¬ 
lads  and  other  secular  compositions,  particu¬ 
larly  some  part-songs  and  choruses  for  male 
voices,  that  have  been  sung  by  societies  in 
almost  ever)’  town  where  such  organizations 
exist. 

Mr.  Holden  is  an  organist  of  much  finish 
and  power,  and  in  this,  as  well  as  in  his  com¬ 
position,  is  manifest  the  pleasing  evidence  of 
a  cultivated  taste  devoting  itself  to  a  labor  of 
love  in  the  music  of  the  church. 

The  subject  of  this  sketch  was  born  at  Bos¬ 
ton,  Massachusetts,  in  1841,  but  removed  to 
New  York  in  1855,  and  has  resided  there  ever 
since.  For  the  past  twelve  years  he  has  been 
organist  and  director  of  music  at  the  Church  of 
the  Puritans,  Fifth  Avenue,  where  he  has  an 
excellent  choir  that  does  much  to  assist  that 
celebrated  pastor,  the  Reverend  Charles  J. 
Young,  D.  D.,  in  makipg  the  Church  of  the 
Puritans  an  attractive  house  of  worship. 


TWO  NEW  AND  BEAUTIFUL 
SACRED  SONGS 

BY 

ALBERT  J.  HOLDEN. 


Father  breathe  an  Evening  Blessing. 

Low  voice.  50c. 

ITy  heaven,  my  Home. 

Two  keys.  40c. 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
'Chicago.  Leipsic. 


EDUARDO  MARZO. 


C  DUARDO  Marzo,  although 
not  a  native-born  musician, 
has  been  so  long  identified  with 
American  musical  interests,  as 
to  be  classed  as  one  of  them. 

Mr.  Marzo  is  a  native  of  Na¬ 
ples,  where  he  studied  under 
Miceli,  Nacciarone,  and  the 
celebrated  Pappalardo.  He  came  to  America 
about  twenty-five  years  ago,  returned  to  Na¬ 
ples  long  enough  to  finish  his  studies  in  com¬ 
position  under  Pappalardo,  returning  to  New 
York  as  musical  director  with  Gazzaniga  and 
Ronconi,  and  afterward  with  Patti  and  Mario. 
For  the  past  twenty  years  he  has  been  devot¬ 
ing  himself  to  the  teaching  of  vocal  music,  and 
has  been  very  successful,  producing  the  best 
results,  as  his  numerous  pupils  will  testify, 
some  having  become  cjuite  celebrated. 

Mr.  Marzo  has  been  elected  a  member  of 
the  Royal  Academy  of  St.  Cecelia  at  Rome. 

77 


78 


ED  VAR  DO  MA  RZO. 


To  be  admitted  to  this  institution  is  regarded 
as  one  of  the  highest  marks  of  distinction  a 
musician  can  receive,  and  Mr.  Marzo  is  the 
first  resident  of  New  York  to  be  so  honored. 
The  open  sesame  to  membership  in  the  Acad¬ 
emy  is  meritorious,  high-class  composition. 
In  order  to  gain  this  honor,  he  had  to  com¬ 
pose  a  new  opus;  this  was  a  cantata  for  voice 
and  orchestra,  entitled  “Vespers.”  He  also 
sent  his  “Third  Mass.” 

Among  the  members  of  the  committee  who 
passed  upon  his  compositions  were  Sgambati, 
the  celebrated  pianist  and  composer,  Mar- 
chetti,  the  director  of  the  Lyceum  at  Rome, 
and  Mustafa,  the  musical  director  of  the  Sis- 
tine  Chapel.  All  the  great  composers  are 
members  of  the  Academy,  which  among  musi¬ 
cians  bears  the  same  reputation  as  does  that 
of  St.  Luke  among  artists. 

Among  Mr.  Marzo \s  latest  compositions  will 
be  found  :  ‘  ‘  The  Quiet  Skies,  ”  “  Hour  so  En¬ 
trancing,”  “Tear  of  Love,”  “At  Springtime,” 
“  Memoria,”  and  “First  Love” — six  beautiful 
•songs,  all  of  the  highest  order  of  musical  and 
artistic  merit.  His  sacred  compositions  have 
met  with  special  recognition — notably  his  new 
Christmas  song,  “  Bending  o’er  a  Cradle  low,” 
the  Easter  solo,  “  Easter-Tide,”  and  his  beau¬ 
tiful  setting  of  “  Lead  Kindly  Light.” 


VOCAL  COMPOSITIONS.... 

....BY  EDUARDO  MARZO. 

SECULAR  SONGS. 

At  Springtime. 

Two  keys.  6oc. 

First  Love. 

Two  keys.  6oe. 

nemoria. 

Two  keys.  75c. 

nusic  in  the  Soul. 

High  voice.  75c. 

The  Quiet  Skies. 

Two  keys.  75c. 

Hour  so  Entrancing. 

Two  keys.  75c. 

SACRED  SONGS. 

Bending  o’er  a  Cradle  low. 

Three  keys.  75c. 

Bethlehem’s  Guiding  Star. 

Two  keys.  75c. 

Easter=Tide. 

Two  keys.  60c. 

Hail !  Easter  Horn. 

Two  keys.  75c. 

King  of  Love. 

Two  keys.  75c. 

Lead  Kindly  Light. 

Two  keys.  75c. 

CHURCH  nusic. 

Te  Deum. 

B-flat.  Ocftavo.  30c. 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago.  Leipsic. 


79 


WILLIAM  H.  SHERWOOD. 


ILLIAM  H.  Sherwood,  clean  of  the 


American  pianists,  has,  by  sheer  force 
of  his  talent  and  perseverance,  reached  a  posi¬ 
tion  in  the  world  of  music  that  is  not  only 
enviable,  but  thoroughly  we  11 -deserved.  He 
is  a  pianist  of  wide  culture,  indeed,  one  of 
the  best  virtuosi  that  America  has  ever  pro¬ 
duced.  His  interpretation,  clearness  and  deli¬ 
cacy  of  touch,  fine  conception  and  exquisite 
execution,  class  him  foremost  with  the  great 
musicians  of  the  day.  He  feels  what  he  plays. 
The  soul  of  the  master  speaks  to  his  soul,  and 
his  art  is  the  medium  between  the  composer 
and  the  audience. 

Mr.  Sherwood  has  done  more  to  aid  the 
cause  of  native  music  and  promulgate  native 
ability  than  any  one  else.  He  was  the  first 
prominent  musician  to  give  certain  portions 
of  his  programmes  regularly  to  the  American 
composer.  The  generality  of  piano  students 
are  so  exclusively  occupied  with  the  classics 


So 


LA  V  It  EL  II  INNE  R  S.  8 1 

of  their  art,  that  they  entirely  fail  to  judge 
the  work  of  the  composers  of  the  present 
day,  and  particularly  of  their  own  country¬ 
men  ;  and  by  this  liberal  recognition  of  the 
American  composer  Mr.  Sherwood  is  doing 
musical  missionary  work,  and  doing  it  “con 
amore.  ’  ’ 

There  are  pianists  who  can  play,  but  can  not 
tell  how  they  do  so.  Mr.  Sherwood  not  only 
astonishes  his  hearers  by  the  immensity  of  his 
virtuosity  —  it  is  so  immense  and  complete 
that  you  are  unaware  of  anything  particularly 
difficult  being  done — but  he  will  tell  you  just 
how  he  does  it.  He  has  a  theory  concerning 
every  difficulty  and  the  means  for  its  mastery — 
the  essentials  of  the  successful  teacher. 

Mr.  Sherwood  has  been  a  deep  student.  He 
has  thought  deeply  upon  all  the  problems  pre¬ 
sented  to  the  searcher  for  the  true  and  the 
beautiful.  The  results  of  his  researches  are 
seen  not  only  in  the  breadth  of  his  own  devel¬ 
opment,  but  are  evident  on  even*  hand  in  the 
many  who  have  learned  of  him.  He  has  de¬ 
vised  and  applied  many  new  methods  for  the 
production  of  tone  color ;  he  has  made  many 
advances  in  the  application  of  the  principles  of 
technic ;  he  has  gone  deeply  into  the  study  of 
the  different  joints  and  muscles  used  in  piano 
playing  and  their  relation  to  each  other,  and 


■82 


WILLIAM  II.  SlIERWOOI). 


has  developed  a  new  and  effective  application 
of  them. 

This  eminent  pianist  and  teacher  is  also  a 
composer  of  genius  and  talent,  and  has  pub¬ 
lished  a  number  of  compositions  which  have 
been  successfully  played  by  leading  artists. 
He  seems  almost  to  write  without  effort,  so 
spontaneous  and  natural  are  his  melodies.  He 
is  not  hampered  by  any  special  style,  he  imi¬ 
tates  no  one  —  his  flights  of  fancy  are  always 
wholly  his  own. 

Among  his  more  recent  compositions  are 
those  bearing  the  opus  number  of  14  —  five 
pieces  that  will  be  found  interesting  to  those 
making  up  programmes  for  musical  evenings 
of  American  composers.  The  first,  “Buy  a 
Broom,”  is  a  waltz  rhythm  in  B-flat,  and  is 
a  delightful  play  upon  the  old  melody  of  that 
name;  the  second,  “Ethelinda,”  is  a  dainty 
minuet  worthy  the  attention  of  the  most  fas¬ 
tidious;  the  third,  “Exhilaration,”  is  of  a 
romantic  character,  and  very  enjoyable ;  the 
fourth,  “A  Caudle  Lecture,”  a  study  in  stac¬ 
cato  playing,  is  a  humorous  description  of  the 
famous  scold  and  her  sleepy  spouse,  and  the 
fifth,  “Christmas  Dance,”  is  sprightly  and 
gay,  a  music  gem  in  holiday  setting. 


WILLIAM  H.  SHERWOOD. 


PIANO  COHPOSITIONS 

.(Opus  14)  : 


No.  1. — Buy  a  Broom. 

4oc- 

2.  — Ethelinda. 

40c. 

3.  — Exhilaration. 

50c . 

4.  — A  Caudle  Lecture. 

40c. 

5.  — Christmas  Dance. 

40c. 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago.  Leipsic. 


A.  J.  GOODRICH. 


A  POTENT  laborer  for  the 
cause  of  American  music, 
and  one  who  has  printed  even 
less  of  his  own  works  than  Mr. 
Sherwood,  is  A.  J.  Goodrich, 
Esq.  He  has  not  published 
American  music  through  con¬ 
certs,  but,  in  theoretical  works, 
has  quoted  freely  from  the  thoughtful  and 
original  work  of  his  contemporary  country¬ 
men  to  prove  his  points,  and  has  put  them  on 
a  par  with  foreign  writers.  He  has  also 
made  himself  perhaps  the  most  advanced  of 
living  writers  on  the  theory  of  music,  which 
is  certainly  a  large  contribution  to  the  ability 
of  our  attainments,  for  he  is  recognized  among 
scholars  abroad  as  one  of  the  leading  spirits 
of  his  time.  His  success  is  the  more  pleasing 
since  he  was  not  only  born  but  educated  in 
this  country.  The  fact  that  he  has  been  en¬ 
abled  to  follow  his  own  conscience  without 

84 


[.  A  l  JR  El.  II  V.Y.Y  E  R  .V .  S; 

danger  of  being  convinced  into  error  by  the 
prestige  of  some  influential  master,  is  doubt¬ 
less  to  be  credited  with  much  of  the  novelty 
and  courage  of  his  work.  His  most  import¬ 
ant  book  is  undoubtedly  his  “  Analytical 
Harmony,”  though  his  “Musical  Analysis” 
and  other  works  are  serious  and  important. 

We  have  not  the  space  to  discuss  Mr.  Good¬ 
rich’s  technicalities,  but  one  must  mention  the 
real  bravery  it  took  to  discard  the  old  practice 
of  a  figured  bass,  and  to  attack  man}'  of  the 
theoretical  fetiches  without  hesitation.  Almost 
all  of  the  old  theorists  have  confessed,  usually 
in  a  footnote  to  the  preface  or  in  modest  dis¬ 
claimer  lost  somewhere  in  the  book,  that  the 
great  masters  would  occasionally  be  found 
violating  certain  of  their  rules.  But  this  did 
not  lead  them  to  deducing  their  rules  from 
the  great  masters.  Mr.  Goodrich,  however, 
has  gone  to  melody  as  the  groundwork  of  his 
harmonic  system,  and  to  the  practice  of  great 
masters,  old  and  new,  for  the  tests  of  all  his 
theories.  The  result  is  a  book  which  can  be 
unreservedly  commended  for  self-instruction 
to  the  ignorant  and  to  the  too  learned. 


WORKS  OF  THE  HIGHEST  DIDACTIC 
CHARACTER. 


By  A.  J.  GOODRICH. 


Analytical  Harmony. 

$2.00 

Husical  Analysis. 

$2.00 


THE  JOHN  CHURCH  COMPANY, 
Cincinnati.  New  York. 
Chicago.  .  Leipsic. 


86 


W.  S.  B.  MATHEWS. 


P)  ROBABLY  no  man  in  Amer- 
A  ica  lias  clone  so  much  teach¬ 
ing  through  the  printing  press 
as  Mr.  W.  S.  B.  Mathews,  of 

•  ■- 

Chicago.  He  is  the  dean  of  the 
universal  faculty  whose  teach- 
ing  is  not  limited  within  a 
studio’s  four  walls,  but  reaches 
wherever  the  printers’  page  can  go. 

Mr.  Mathews  was  born  at  London,  N.  H., 
May  8,  1837.  He  showed  a  taste  for  music 
at  a  very  early  age,  and  always  intended  to  be 
a  teacher.  He  began  the  study  of  the  piano 
when  about  twelve  years  of  age,  and  made 
very  rapid  progress.  He  began  playing  the 
organ  in  church  a  year  later.  His  first  posi¬ 
tion  as  a  teacher  was  in  an  academy  at  Mt. 
Vernon,  N.  H.,  before  lie  was  eighteen. 
Studied  in  Boston  with  Southard  and  later 
with  a  pupil  of  Thalberg. 

Mr.  Mathews  was  editor  of  The  Musical 

87 


88 


IV..  S.  B.  MATIIEWS. 


Independent  from  1868  to  1872  ;  he  was  also 
a  frequent  contributor  to  Dwight’s  Journal 
from  1859  to  the  cessation  of  that  paper.  He 
also  atfled  as  critic  on  different  daily  papers  in 
Chicago  for  about  ten  years. 

Mr.  Mathews  has  written  many  valuable 
books,  several  of  which  are  now  standard 
text-books,  notably  “'Mathews’  Graded  Ma¬ 
terials  for  the  Piano,’’  “Mathews’  Beginner 
in  Phrasing, ’ ’  and  “A  Primer  of  Music” 
(in  conjunction  with  Dr.  Win.  Mason),  and 
“The  Pronouncing  Dictionary  of  Musical 
Terms”  (with  Mr.  Emil  Eiebling). 

Mr.  Mathews,  with  the  assistance  of  Mr. 
Eiebling,  has  just  finished  two  volumes  of 
“Graded  Pieces”  which  will  be  published 
this  season. 


STANDARD 

MUSICAL 

TEXT-BOOKS. 


W.  S.  B.  MATHEWS. 


Hathews’  Graded  Haterials  for  the  Piano. 

Eight  grades.  Each  $1.00 

Hathews’  Beginner  in  Phrasing. 

$1.00 

Hason  &  Hathews’  Primer  of  Husic. 

75c. 

flathews  &  Liebling’s  Pronouncing  Dictionary. 

$1.00 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago.  T.eipsic. 


EMIL  LIEBLING. 


CMIIv  Liebling — concert 
pianist,  teacher,  littera¬ 
teur,  lecturer,  editor,  and 
composer — a  long  list  of  ap¬ 
pellations  for  one  man  and  to 
each  of  which  must  be  pre¬ 
fixed  the  word  successful. 

As  a  concert  pianist  he 
represents  the  best  modern 
school.  Although  actively  engaged  in  teach¬ 
ing,  he  has  a  memory  of  such  quickness  and 
tenacity  as  enables  him  to  retain  at  his  com¬ 
mand  pretty  much  all  the  repertory  of  all  the 
leading  pianists  of  the  day.  During  his  career 
as  artist  he  has  played  in  public  probably  four 
hundred  different  compositions,  the  vast  ma¬ 
jority  of  which  he  would  be  able  to  play  you 
off  hand  any  moment  you  might  happen  to  ask 
for  them.  In  this  respect  he  stands  almost 
alone  among  artists,  very  few  of  whom  will 
undertake  to  play  compositions  which  they 


LA  t  RE L  WINNERS. 


9' 


have  not  recently  studied.  As  a  pianist  he 
brings  to  the  interpretation  of  this  vast  reper¬ 
tory,  embracing  the  very  cream  of  modern 
pianoforte  literature,  intelligence,  repose  and 
refinement.  He  is  also  very  successful  with 
his  lectures  with  pianoforte  illustrations. 

A  ready  talker,  an  cot ir ant  with  musical 
tradition  and  personality  as  well  as  musical 
history,  knowing  by  heart  almost  the  whole 
of  the  compositions  of  the  great  writers,  and 
able  to  play  them  at  a  moment’s  warning,  he 
is  in  a  position  where  very  few  artists  can 
compete  with  him  in  ability  of  insight,  clear¬ 
ness  of  statement,  and  quickness  and  ampli¬ 
tude  of  illustration.  Hence,  for  educational 
recitals,  he  is  one  of  the  best  artists  possible 
to  secure. 

As  a  litterateur  his  contributions  to  current 
musical  journalism  have  enjoyed  the  widest 
popularity. 

His  activity  as  a  teacher  has  perhaps  been 
the  distinguishing  feature  of  his  long  and 
honorable  life,  and  in  this  regard  he  has  left 
the  most  lasting  impression.  When  a  man 
has  fitted  hundreds  of  men  and  women  suc¬ 
cessfully  for  professional  life  and  enabled 
them  to  make  a  living  by  his  instruction,  he 
may  well  be  proud  of  his  record,  and  in  this 
specialty  Mr.  Liebling  has  no  peer.  His  in- 


92 


EMIL  LIE  E  LINE. 


struction  is  given  in  that  broader  sense  which 
preserves  and  developes  individuality. 

His  compositions  represent  the  best  class  of 
salon  music,  and  rank  with  those  of  Bendel, 
Mason  or  Moszkowski.  They  combine  a  rare 
degree  of  musical  charm,  perfection  of  form 
and  brilliant  effect. 

In  every  one  of  the  following  compositions, 
recently  published,  will  be  found  something 
plainly  demonstrable  —  here  some  technical 
nicety,  there  something  rhythmical,  or  some¬ 
thing  for  phrasing  or  interlocking  of  hands. 
The  “  Menuetto  Scherzoso,  ”  Op.  28,  steps  on 
dainty  tiptoe.  Cute,  graceful,  with  a  roguish 
smile,  prettily  invented,  it  gives  fine  oppor¬ 
tunities  for  refined  touch,  interlocking  of  the 
hands,  and  has  a  melodious,  singing  trio  of 
charming  contrast.  “  Manuela”  air  de  ballet. 
Op.  29,  is  likewise  a  fine  staccato  study  of 
happy  melodic  character,  containing  at  the 
end  a  facilitating  cut,  of  which,  however,  no 
one  will  avail  himself,  as  the  florid  passage  is 
so  “handy”  and  dankbuY  that  any  player 
who  can  manage  the  balance  of  the  piece 
would  loth  to  lose  this  early  opportunity  for 
brilliancy.  Perhaps  a  trifle  more  ambitious 
is  the  “  Mazurka  de  Concert,”  Op.  30,  full 
of  harmonic  niceties,  pianistic  ornamentations, 
and  a  ehivalric  trio  with  triplets  and  couplets 


LAUREL  WINNERS. 


93 


combined.  The  most  dignified,  musically  in¬ 
teresting,  and  melodicallv  beautiful  is  “  Yalse 
Poetique,”  Op.  31,.  although  it  makes  no  in¬ 
creased  demand  upon  the  technic. 

Mr.  Liebling  has  an  enviable  knack  of  writ¬ 
ing  effective  music  without  making  it  difficult, 
and  of  writing  musicianly  without  abstruse¬ 
ness.  Even  in  the  lightest  moods  he  knows 
how  to  avoid  triviality,  and  not  only  selects 
graceful  subjects,  but  expresses  and  developes 
them  in  refined  verbiage  and  thoroughly  piau- 
istie  style. 


EMIL  LIEBL1NG. 


....COnPOSITIONS  FOR  PIANO.... 

Opus  26: 

Canzonetta. 

50c. 

Opus  27: 

“nadeleine”  Valse. 

75c- 

Opus  28: 

Henuet  Scherzoso. 

75°  • 

Opus  29: 

“rianuello”  Air  de  Ballet. 

60c. 

Opus  30: 

flazurka  de  Concert. 

75c  • 

Opus  31 : 

Valse  Poetique. 

50c.* 

Opus  33 : 

Spring  Song. 

50c.  • 

A  Pronouncing  and  Defining  Dictionary  of 
riusic. 

(Mathews  &  Liebling). 

Cloth,  $1.00 

THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 

Chicago.  Leipsic. 


94 


WILSON  G.  SMITH. 


A  MUSICIAN,  whose  versa- 
tile  genius  has  made  him 
famous,  is  Wilson  G.  Smith, 
of  Cleveland,  Ohio.  His  un¬ 
ceasing  activity  as  composer, 
teacher,  editor,  critic  and  essay¬ 
ist,  has  found  expression  in  the 
happiest  sort  of  results. 

Mr.  Smith  is  a  native  of  Elyria,  O. .  and  a 
graduate  of  the  Cleveland  public  schools.  He 
began  his  musical  education  at  Cincinnati,  in 
1876,  when  his  teacher,  Mr.  Otto  Singer,  en¬ 
couraged  him  to  make  music  his  profession. 
Four  years  later  he  went  to  Berlin,  where,  for 
several  seasons  under  the  direction  of  Schar- 
\venka,  Moszkowski,  Kiel  and  Raif,  he  studied 
uninterruptedly.  On-  his  return  to  Cleveland 
he  opened  a  studio  and  began  the  teaching  of 
piano,  organ,  voice  and  composition. 

Mr.  Smith  is  a  teacher  of  remarkable  apti¬ 
tude,  and  enjoys  the  reputation  of  being  a 

95 


96 


WILSON  (,.  SMITH. 


leader  in  his  profession.  His  experience  in 
teaching  has  recently  crystallized  into  several 
pedagogic  works.  His  “Selected  Studies  by 
Daniel  Steibelt  ’  ’  are  calculated  to  fill  the  gap 
that  exists  between  the  studies  of  Bertini  and 
Cramer,  and  they  are,  both  by  their  style  and 
technical  requirements,  eminently  suited  to 
the  purpose.  The  “Selected  Piano  Studies 
by  Henri  Her/.,’’  revised  by  Mr.  Smith,  are 
recommended  as  being  adapted  to  the  present 
requirements  of  students  as  preparatory  work 
to  Cramer.  The  “  Five  Minute  Studies,” 
Op.  63,  are  specially  valuable  for  the  Equali¬ 
zation  and  perfect  development  of  the  weaker 
fingers,  viz.:  the  4th  and  5th,  while  the 
“Thematic  Octave  Studies,”  Op.  68,  are 
rhythmical  exercises  for  acquiring  a  flexible 
movement  of  the  hands  and  wrists.  His 
“Chromatic  Studies”  and  “Transposition 
Studies”  are  most  valuable  contributions  to 
modern  technical  literature. 

As  a  composer  he  has  been  especially  for¬ 
tunate  in  hitting  the  golden  mean  between 
forbidding  obstruseness  and  trivial  popularity,  • 
and  consequently  enjoys-  the  esteem  of  those 
learned  in  music  as  well  as  of  those  merely 
happy  in  the  enjoyment  of  it.  And  probably 
no  other  American  composer  has  figured  so 
frequently  on  concert  programmes. 


LAUREL  WINNERS. 


97 


So  highly  is  his  ability*  as  a  critic  and  in-  ■ 
terpretor  of  other  musician’s  work  considered, 
that  a  distinguished  honor  has  recently  been 
conferred  upon  him.  People  are  familiar  with 
the  fact  that  Charles  Dudley  Warner  has  re¬ 
cently  published  an  •  extensive  work  called 
“The  World’s  Best  Literature.’’  The  same 
firm  handling  Mr.  Warner’s  book  is  now  pre¬ 
paring  for  publication  a  work  of  twenty  vol¬ 
umes,  entitled:  “  The  World’s  Best  .Music.’” 
This  will  be  an  elaborate  affair,  the  best  liv¬ 
ing  musicians,  including  Theodore  Thomas, 
Paderewski,  Guilmant.  Scharwenka,  andscores 
of  others,  contributing  critiques  of  the  masters 
of  the  music  world.  Nothing  of  the  kind  now 
exists  in  musical  literature,  and  the  work  is 
bound  to  become  a  classic.  Mr.  Smith  has 
been  engaged  to  write  an  article  on  Grieg  for 
this  book,  which  he  has  completed,  and  when 
the  work  appears  next  autumn  his  place  in 
such  notable  company  of  authors  and  artists 
will  greatly  delight  his  many  friends.  The 
most  important  of  Mr.  Smith’s  earlier,  works 
was  a  series  of  five  pieces,  called  “Homage 
a  Grieg,’’  which  brought  warmest  commenda¬ 
tions  from  the  Scandinavian  master.  It  is, 
therefore,  eminently  fitting  that  he  should  have 
been  selected  to  write  a  critique  of  Grieg. 


COMPOSITIONS  OF 
WILSON  G.  SMITH. 


FOR  voice: 

Go  Happy  Roses. 

High  voice.  35c. 

Go,  Hold  White  Roses. 

High  voice.  35c. 

I  Know  a  Lass  with  Laughing  Eye. 

Baritone.  30c. 

FOR  PIANO  ! 

Danse  Rustique. 

60c. 

Spring’s  Awakening.  (Gade). 
75°  • 

FOR  PIANO  STUDY  ! 

Five  ninute  Studies. 

Op.  63.  Two  books.'  Each  $1.00 

Thematic  Octave  Studies. 

Op.  68.  $1.00 

Chromatic  Studies. 

Op.  69.  Two  books.  Each  $1.00 

Transposition  Studies. 

Op.  70.  $1.00 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago.  I.eipsic 


98 


WILLIAM  WALLACE  GILCHRIST. 


V\/ILLIAM  Wallace  Gilchrist,  organist 
v  y  and  composer,  was  born  in  Jersey  City, 
New  Jersey,  January  8,  1846.  His  father 
was  a  Canadian  of  Scotch  extraction,  and  his 
mother  a  New  Yorker  of  Puritan  descent,  and, 
both  being  very  musical,  Mr.  Gilchrist’s  edu¬ 
cation  in  music  began  in  the  home-circle.  His 
activities  have  all  been  given  to  Philadelphia, 
where  his  family  removed  in  ’55. 

The  record  of  Mr.  Gilchrist’s  musical  edu¬ 
cation  is  unique  indeed,  in  that  he  has  had 
but  one  teacher,  and  that  an  American,  Mr. 
Hugh  A.  Clarke,  of  the  University  of  Penn¬ 
sylvania.  The  fact  of  his  education  being 
entirely  a  local  one,  is  made  all  the  more  in¬ 
teresting  through  his  success  as  a  prize  winner 
in  composition.  His  first  successful  venture 
was  made  in  1877,  when  he  gained  two  prizes 
for  men’s  part-songs  offered  by  the  Abt  So¬ 
ciety  ;  his  second  was  of  a  similar  nature  when, 
in  1880,  he  took  all  of  the  three  prizes  offered 

99 


ioo  IVIL  L  I A  M  JVA  I.  LA  CE  GIL  CHIUS  T. 

by  the  Mendelssohn  Glee  Club  of  New  York, 
the  successful  compositions  being  ‘ 1  Ode  to  the 
Sun,”  “Autumn,”  and  “Dreaming” — all  for 
male  chorus.  The  composition  with  which  he 
carried  off  the  $1000  prize  of  the  Cincinnati 
May  Festival  Association,  was  a  setting  for 
soprano  solo,  chorus  and  orchestra  of  the 
Forty-sixth  Psalm.  Other  successful  composi¬ 
tions  by  Mr.  Gilchrist  are,  “A  Song  of  Thanks¬ 
giving,”  “The  Rose,”  “  Prayer  and  Praise,” 
and  the  “Uplifted  Gates,”  all  for  mixed  chorus 
and  orchestra. 

Mr.  Gilchrist  has  written  many  part-songs 
for  men’s  and  women’s  voices,  anthems  and 
sendees  for  the  church,  a  trio,  quintette  and 
uontette,  a  symphony  for  full  orchestra  which 
has  had  frequent  performance,  a  suite  for 
piano  and  orchestra,  and  a.  few  but  choice 
songs  and  piano  pieces. 

Nothing  more  genial,  cheerful  and  pleasing 
than  his  charming  little  ballad,  “The  Sun 
and  the  Rosebud,”  has  come  to  us  for  a  long 
time,  and  we  need  hardly  say  that  the  char¬ 
acter  of  the  composition  is  of  the  purest  kind. 
His  ‘  ‘  Hunting  Song  ’  ’  for  piano  solo  is  written 
in  the  manner  of  Mendelssohn,  and  in  it  the 
composer  has  caught  the  spirit  of  the  chase 
and  transferred  it  to  melodic  sounds  in  a 
highly  artistic  manner. 


TWO  CHOICE  COMPOSITIONS 


W.  W.  GILCHRIST. 

FOR  VOICE: 

The  Sun  and  the  Rosebud. 

Medium  voice.  30c. 

FOR  PIANO: 

Hunting  Song. 

75c- 


THE  JOHN  CHURCH  COMPANY, 


Cincinnati. 

Chicago. 


New  York. 
Leipsic. 


W.  L.  BLUMENSCHEIN. 


\Kl ■  D.  Blumexscheix  is  a 
v  ’  master  of  musical  art, 
and  Dayton,  Ohio,  is  indeed 
fortunate  in  having  as  its  chief 
purveyor  of  “things  musical”  a 
man  of  such  marked  ability. 

Mr.  Blumensehein  studied 
piano,  theory,  composition  and 
conducting  for  several  years  at  the  Leipsic 
Conservatory  under  such  eminent  teachers  as 
Reinecke,  Richter,  David,  Paul,  Wenzel  and 
Coccius.  “  When  work  was  done  and  laurels 
won  ”  he  returned  to  America,  where  he  was 
soon  called  to  the  directorship  of  the  Philhar¬ 
monic  Society  of  Dayton,  a  position  he  has 
held  continuously  for  twenty  years,  and  has 
won  for  himself  and  the  society  a  far  more 
than  local  reputation.  Indeed,  the  repertory 
of  choral  works  performed  in  Dayton,  many 
with  orchestral  accompaniment,  will  compare 
favorably  with  that  of  any  of  the  prominent 


102 


LAV  RE  l.  WINNERS. 


io.> 

organizations  of  the  country.  Mr.  Blumen- 
schein  has  also  accepted  calls  to  direct  similar 
societies  in  Indianapolis  and  Springfield,  and 
was  chorus-master  of  the  Cincinnati  Festivals 
for  several  years. 

The  compositions  of  Mr.  Blumenscliein  are 
all  well  written,  and  give  proof  of  the  thorough 
musician,  being  original,  musical,  and  finished 
to  a  nicety,  always  appealing  to  the  best  taste. 
Among  those  belonging  to  the  first  class  may 
be  mentioned  his  “Grace  for  Grace,’’  a  set 
of  thirty-one  Scriptural  texts  and  hymns,  com¬ 
posed  for  the  offertory  and  responses  for  solo 
voices  and  quartet. 

Five  very  musical  compositions  of  great 
merit  are:  “Impromptu,”  Op.  22,  “Scherzo,” 
Op.  30,  “Barcarolle,”  Op.  31,  “Brooklet,” 
Op.  48,  No.  1,  and  “Toccato,”  Op.  48,  No.  2. 
We  must  not  fail  to  mention  those  charm¬ 
ing  songs  “Sunshine  of  the  Heart”  and 
“Dorothy,”  and  two  famous  anthems,  “Wake, 
O  my  Soul”  and  “Christ,  the  Ford,  is  Risen 
To-day.” 

I11  the  double  position  of  composer  and 
conductor,  we  render  our  hearty  tributes  to 
Mr.  Blumenscliein,  not  only  for  the  manner 
in  which,  in  his  work,  he  has  made  his  repu¬ 
tation,  but  for  his  service  in  dignifying  and 
uplifting  American  musical  art. 


W.  L.  BLUMENSCHEIN. 


COnPOSITIONS. 


PIANO. 

Barcarolle. 

Op.  31.  F.  60c. 

“Coquette”  Gavotte. 

Op.  41.  F.  60c. 

Impromptu. 

Op.  22.  A.  $1.00 

Scherzo. 

Op.  30.  B-flat.  .fi.oo 

The  Brooklet. 

Op.  48,  No.  1.  C.  50c. 

Toccato. 

Op.  48,  No.  2.  C.  50c. 

Valse  Brillante. 

Op.  23.  E-flat.  75c. 

VOICE. 

Dorothy. 

High  voice.  73c. 

Sunshine  of  the  Heart. 

High  voice.  40c. 

I  Love  but  Thee  Alone. 

German  and  English.  High  voice. 


THE  JOHN  CHURCH  COMPANY 
Cincinnati.  New  York. 
Chicago.  I.eip.sic. 


40c. 


104 


HOWARD  FORRER  PEIRCE. 


COR  a  number  of  years,  Mr. 

*  Howard  Forrkr  Peirce, 
as  pianist,  has  been  ministering  j 
to  the  pleasure  of  concert  goers 
by  performances  that  won  for 
him  the  applause  of  his  fellow- 
musicians  and  commendations 
from  the  critics. 

Mr.  Peirce  was  born  in  1865,  at  Dayton,  O., 
and  received  his  early  musical  training  from 
the  local  teachers,  Mr.  W.  L.  Blumenschein 
being  one  of  them.  His  foreign  study  was 
done  at  Munich  and  Florence,  that  he  might 
get  the  light  from  both  Germany  and  Italy. 
Several  years  were  spent  at  Munich,  studying 
under  Rheinberger  and  Gierhl.  Florence  was 
the  next  place  of  abode  where  study  was  re¬ 
sumed  under  direction  of  that  great  pianist 
and  famous  teacher  Guiseppe  Buonamici. 

Mr.  Peirce  returned  to  Dayton,  and  has 
divided  his  time  since  to  teaching  and  con- 


HOWARD  FOR  RE  R  PEIRCE. 


Io<> 


certizing,  and  been  most  successful  in  both. 
During  the  present  season  he  will  make  weekly 
visits  to  Cincinnati,  for  the  purpose  of  teach¬ 
ing  and  the  giving  of  an  occasional  recital. 

His  playing  deserves  the  warmest  praise. 
Crystalline  clearness,  purity  and  genuine  earn¬ 
estness  mark  it.  It  is  free  from  pretense  and 
show.  But  in  spite  of  his  modesty,  or  per¬ 
haps  on  account  of  these  qualities,  it  is  a  sort 
of  playing  that  deserves  to  make  its  way  and 
be  appreciated  as  genuine  —  which  will  and 
has  made  its  way,  for  all  who  have  heard  him 
must  have  been  impressed  with  the  honesty  of 
the  talent,  the  firm  and  artistic  touch,  and  the 
beauty  and  poetry  of  the  renderings.  He  is 
one  of  the  few  pianists  who  are  sure  to  capti¬ 
vate  their  audiences. 

Mr.  Peirce,  besides  his  recitals  in  Boston, 
New  York,  Cincinnati,  Cleveland,  Detroit  and 
other  large  cities,  has  made  concert  tours  with 
Plunket  Greene,  Marie  Brema  and  Camilla 
Urso.  Not  content  with  laurels  won  in  one  field 
of  his  art,  Mr.  Peirce  has  entered  that  of  com¬ 
position,  and  Opus  i  presents  two  charming 
songs  that  will  afford  much  gratification  to  all 
who  appreciate  sterling  worth.  They  are  pro¬ 
ductions  of  a  high  order  of  musical  merit,  and 
will  assure  their  author  an  honorable  place 
among  contemporaneous  composers. 


The  poems  of  these  first  compositions  are 
from  the  pen  of  the  famous  woman  poet, 
Johanna  Ambrosius,  and  are  of  rare  beauty — 
tender,  simple,  chaste  in  feeling ;  and  Mr. 
Peirce’s  music  is  in  felicitous  accord  with 
the  spirit  of  the  verse.  “  Sommernacht,”  and 
“  Ich  liabe  geliebt,”  are  veritable  art  gems, 
and  will  appeal  at  once  to  all  appreciative 
singers  of  the  German  “Tied.”  While  noth¬ 
ing  can  surpass  the  tenderness  and  grace  of 
the  original  text,  they  have  been  well  pre¬ 
served  in  a  beautiful  translation. 

In  his  Opus  i,  Howard  Forrer  Peirce  has 
written  two  of  the  finest  songs  one  may  find, 
although  lie  seek  long  among  the  choicest 
compositions. 


HOWARD  FORRER  PEIRCE. 


OPUS  ONE. 


Ich  habe  geliebt. 

German  and  English  words. 
50c. 

5ommernacht. 

German  and  English  words. 
50c. 


'  THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago.  I.eipsic. 


108 


DR.  J.  W.  BISCHOFF. 


F"\R.  J.  W.  Bischoff,  one  of 
the  most  popular  song- 
composers  of  the  day,  was  born 
in  Chicago,  of  German  parents, 
in  the  year  1849. 

In  early  infancy  a  severe  ill¬ 
ness  deprived  him  of  the  use  of 
his  eyes,  and  since  then  he  has 
been  totally  blind.  But  despite  this  appar¬ 
ently  insurmountable  barrier,  he  has  been 
nothing  daunted. 


After  spending  a  number  of  years  at  the 
Institute  for  the  Blind,  at  Janesville,  Wis., 
where  he  never  allowed  his  affliction  to  be  an 
excuse  for  any  negligence  in  his  studies,  and 
where  his  great  genius  early  showed  itself,  he 
gave  his  life  to  the  great  study  of  music,  and 
since  then  has  always  stood  in  the  first  rank 
of  artists.  Dr.  Bischoff  took  up  his  residence 
in  Washington,  D.  C.,  in  1875,  and  has  re¬ 
mained  there  continuously.  His  special  forte 


I  TO 


DR.  J.  IV.  RISC  HOFF. 


is  voice- work,  and  the  pupils  who  have  re¬ 
ceived  the  benefit  of  his  instruction  are  num¬ 
bered  by  the  hundreds.  * 

While  Mr.  Bischoff  is  an  exceedingly  busy 
man,  he  devotes  his  leisure  time  to  compo¬ 
sition,  and  has  won  for  himself  an  enviable 
reputation  with  the  American  public  bj-  the 
numerous  beautiful  songs  which  he  has  pro¬ 
duced,  notably  his  “Supposing,”  “Take  Me, 
Jamie  Dear,”  “Unanswered,”  “Rock  of  Ages,” 
“Marguerite,”  etc.  His  recent  songs,  “The 
Night  has  a  Thousand  Eyes,”  “Proposing,” 
and  “Come  to  my  Heart,”  are  compositions 
of  marked  beauty,  and  bid  fair  to  outrival 
in  popularity  anything  that  Mr.  Bischoff  has 
written. 


J.  W.  BISCHOFF. 


* 


...NEW  SONGS... 


Come  to  my  Heart. 

High  voice.  50c. 

Conqueror. 

Baritone.  50c. 

Dear  Love,  Good  Night. 

Medium  voice.  50c. 

Love  Immutable. 

High  voice.  50c. 

Nearer  Home.  (Phoebe Cart). 
High  voice.  50c. 

Night  Has  a  Thousand  Eyes. 

High  voice.  40c. 

Proposing. 

High  voice.  40c. 

You  Naughty  Boy. 

Medium  voice.  30c. 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago.  Leipsic. 


hi 


FRANK  E.  SAWYER. 


MERIC  AN  music  has  lost 
one  of  its-  most  faithful 
representatives  in  the  early 
death  of  Frank  E.  Sawyer, 
a  musician  whose  intensity 
gave  promise  of  a  worthy  fu¬ 
ture.  He  was  a  poet  as  well 
as  composer,  and  both  poems 
and  compositions  were  of  a  high  order  of 
merit,  appealing  to  culture  in  literature  and 
music. 

Mr.  Sawyer  was  born  in  Boston,  in  1871, 
and  received  his  first  musical  training  from 
his  mother,  who  was  a  fine  pianist.  When 
seventeen  years  of  age  he  played  at  two  musi¬ 
cal  festivals  given  by  the  Boston  Orchestra. 
In  1890  h»  began  serious  study  with  Dudley 
Buck,  which  was  interrupted  two  years  later 
by  ill  health,  necessitating  a  sojourn  through 
South  America  and  California.  He  resumed 
his  studies  in  1893  with  Buck,  and  also  stud- 


12 


LA  UltEL  WZJVNE/tS. 


”3 


ied  organ  under  Dr.  Austin  Pierce.  He  was 
a  member  of  the  American  Manuscript  Society 
and  the  London  Society  of  Arts  and  Letters. 
His  compositions  cover  a  wide  range,  and  con¬ 
sist  of  songs,  duets,  quartets,  piano  music, 
masses,  etc.  Among  other  things,  he  com¬ 
posed  three  arias,  which  were  dedicated  to  and 
sung  by  Mademoiselle  Emma  Calve. 


SONGS  AND  BALLADS  BY 
FRANK  E.  SAWYER.... 


Ask  Nothing  More. 

High  voice.  75c. 

A  Song  of  Love. 

High  voice.  30c. 

Chanson  Orientale. 

High  voice.  60c. 

French  Serenade. 

High  voice.  60c. 

1  Love  But  Thee. 

I,ow  voice.  50c. 

In  a  Rose  Garden. 

I.ow  voice.  75c. 

Love  and  the  Haiden 

Medium  voice.  40c. 

Lullaby  Song. 

Medium  voice.  60c. 


My  Dream  Thou  Art. 

High  voice.  40c. 

No  Kiss. 

High  voice.  40c. 

O  Wind  That  Blows. 

Medium  voice.  75c. 

Slumber  Song. 

High  voice.  30c. 

Song  of  a  Bower. 

High  voice.  60c. 

Springtime. 

High  voice.  40c. 

The  Hermaid. 

Medium  voice.  50c. 

The  Spectre  of  a  Rose. 

High  voice.  40c. 


Unless. 

High  voice.  40c. 


SIX  FRENCH  SONGS 

(For  high  voice!  : 

Villanelle.  (Springtime.) 

60c. 

Odelette.  (L’amour  d’un  oiseau.) 
40c. 

Aria.  (Ma  belle  aime  est  morte.) 

60c. 

Chante  amourese.  (Love  song.) 

40c. 

Le  pays  d’amour.  (Barcarolle.) 
50c. 

Reviens !  (Return!) 

40C. 

THE  JOHN  CHURCH  COA\PANY, 

Cincinnati.  New  York. 
Chicago.  Leipsic. 


1 14 


JOHN  PHILIP  SOUSA. 


DICHARD  Wagner,  writing 
*■  '  of  the  rapturous  waltzes 
of  Johann  Strauss,  says:  “One 
Strauss  waltz  overshadows,  in 
respect  to  animation,  finesse 
and  real  musical  worth,  most 
of  the  mechanical,  borrowed, 
factory -made  products  of  the 
present  time.” 

The  very  same  words  may  be  applied  to  the 
marches  of  John  Philip  Sousa.  Mr.  Rupert 
Hughes,  in  writing  in  Godev’s  of  the  fame  and 
characteristics  of  this  magician  of  melody  and 
rhythm,  says: 

‘  ‘  There  is  no  composer  in  the  world  with  a 
popularity  equal  to  that  of  John  Philip  Sousa. 
The  reason  for  this  overwhelming  appeal  to 
the  hearts  of  a  planet  is  not  far  to  seek.  The 
music  is  conceived  in  a  spirit  of  high  martial 
zest.  It  is  proud  and  gay  and  fierce,  thrilled 
and  thrilling  with  triumphs.  Like  all  great 
music  it  is  made  up  of  simple  elements,  woven 


1 15 


II6  JOHN  PHILIP  SOUSA. 

together  by  a  strong  personality.  It  is  not 
difficult  now  to  write  something  that  sounds 
more  or  less  like  a  Sousa  march,  any  more 
than  it  is  difficult  to  write  parodies,  serious  or 
otherwise,  on  Beethoven,  Mozart  or  Chopin. 
The  glory  of  Mr.  Sousa  is  that  he  was  the 
first  to  write  in  this  style;  that  he  has  made 
himself  a  style;  that  he  has  so  stirred  the 
musical  world  that  countless  imitators  have 
sprung  up  after  him.  Just  to  name  these 
marches  is  enough,  for  they  call  up  many 
episodes  of  parade  gaiety  and  jauntiness  or 
warlike  fire.  The  ‘Liberty  Bell,’  ‘Manhat¬ 
tan  Beach,’  ‘Directorate,’  ‘King  Cotton,’  ‘El 
Capitan,’  ‘Bride-Elect,’  and  others,  are  all 
stirring  works,  the  ‘Stars  and  Stripes  For¬ 
ever’  being  undoubtedly  the  best  —  a  deeply 
patriotic  march,  the  second  part  being  particu¬ 
larly  strong  in  rhythm  and  fire.  This  march 
has  also  been  arranged  as  a  vocal  solo,  and 
has,  by  popular  acclaim,  become  the  Nation’s 
greatest  patriotic  song  —  a  new  national  an¬ 
them.’  ’ 

Mr.  Sousa  is  a  genuine  American  in  spite  of 
his  name.  He  was  Ixmi  in  the  city  of  Wash¬ 
ington,  in  1854.  His  father  was  a  Spaniard 
and  his  mother  a  German.  He  is  thus  entitled 
to  a  liberal  heredity  of  Spanish  terseness  of 
rhythm,  German  mysticism  and  sentiment, 


LAUREL  WINNERS.  1 1 7 

and  American  appreciation  of  the  rights  of 
the  people. 

His  early  musical  training  was  of  the  best, 
for  he  attracted  attention  as  a  violinist  when 
very  young,  and  at  the  age  of  eighteen 
became  an  orchestral  leader,  where  unusual 
abilities  in  this  direction  were  demonstrated. 
At  the  age  of  twenty-six  he  was  appointed 
musical  director  of  the  United  States  Marine 
Band,  which  position  he  filled  with  great  credit 
and  honor  for  twelve  years,  during  which  time 
the  national  band  was  developed  into  one  of 
the  best  drilled  bands  in  existence,  and  drew 
world-wide  attention  to  Mr.  Sousa  as  a  band¬ 
master  of  unprecedented  if  not  unequalled 
ability. 

Mr.  Sousa  remained  with  the  Marine  Band 
until  he  received  an  offer  to  take  up  the 
baton  of  his  present  unparalleled  organization, 
August  1,  1892.  He  possesses  the  magnetic 
personal  charm  which  attracts  others,  and  at 
the  same  time  enables  him  to  control  a  band 
as  much  by  force  of  character  as  by  vested 
authority. 

As  a  composer,  Mr.  Sousa  is  best  known 
by  his  marches,  although  unusually  prolific  in 
other  and  more  serious  forms.  He  has  com¬ 
posed  over  two  hundred  musical  works,  in¬ 
cluding  his  great  marches,  songs,  overtures, 


i iS  JOHN  PHILIP  SOUSA. 

and  five  operas;  two  of  which,  “  HI  Capitan” 
and  the  “Bride-Elect.”  have  international  rep¬ 
utations.  His  new  opera,  “  The  Charlatan,” 
is  the  operatic  success  of  the  season.- 

Mr.  Sousa’s  suite,  “Three  Quotations,”  has 
recently  been  arranged  for  piano  solo.  .This 
suite  of  three  descriptive  melodious  numbers 
occupies  an  intermediate  place  between  the 
strictly  popular  and  more  highly  classical  com¬ 
positions,  and  is  within  the  resource  of  the 
average  player.  The  first  number, 

“  The  King  of  France,  with  twenty  thousand 
men, 

Marched  up  the  hill,  and  then  marched  down 
again,” 

is  the  motive  for  a  delightful  scherzo  march 
of  much  melody  and  spirit;  the  second, 

“  I  too,  was  horn  in  Arcadia," 
is  a  pastoral,  with  delicious  touches  of  extreme 
delicacy;  the  third, 

"  In  darkest  Africa,” 

lias  a  stunning  beginning  and  is  a  stirring  gro¬ 
tesque  in  the  negro  manner  Dvorak  advised 
Americans  to  cultivate.  All  three  are  well 
arranged  for  piano. 


“The  Charlatan.” 


JOHN  PHILIP  SOUSA’S  LATEST 
OPERATIC  WORK. 


Published  in  Vocal  Score,  at  $2.00 
March,  for  Piano  Solo,  at  50c. 


Will  be  followed  by  Arrangements  for  All  Instruments. 


THE  JOHN  CHURCH  COMPANY, 

Cincinnati.  New  York. 
Chicago.  Ueipsic. 


no 


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